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FRANKLIN  INSTITUTE  LIBRARY 

PHILADELPHIA 

Class  A.lS!..'^.      Book.RS.S^    Accession. 2.7-.^ 


ilii.M-  i iv>  intended  for  circulation. 

Aktici.k  VI.— The  Secretary  shall  have  authority  to  lonn  to  Members 
and  to  holders  of  second  class  slock,  any  work  heloiiging  to  the  .'-Kcoxn 
CL.\ss,  subject  to  the  followintr  regulations: 

Section  7.— No  individual  shall  l)e  permitted  to  have  more  than  two 
books  out  at  one  time,  without  a  written  permission,  signed  by  at  least 
TWO  members  of  the  Library  Committe  ;  nor  shall  a  book  l)e  kept  out 
more  than  two  wkkks  :  but  if  no  one  has  applied  for  it,  the  former  bor- 
rower may  renew  the  loan.  Should  any  person  have  applied  for  it,  the 
latter  shall  have  the  preference. 

Section  2. — A  kink  ok  tkx  ckxts  vym  wkek  shall  be  exacted  for  the 
detention  of  a  liook  beyond  the  limited  time  ;  and  if  a  book   be  not  re 
turned  within  three  months  it  shall   be  deemed  lost,   and   the   borrower 
shall,  in  addition  to  his  iines,  forfeit  its  value. 

Section  5.— Should  any  book  be  returned  injured,  the  borrower  shall 
pay  for  the  injury,  or  replace  the  book,  as  the  Library  Committee  may 
direct :  and  ii"  oiu-  or  more  books,  belonging  to  a  set  or  sets,  be  lost,  the 
borrower  .<hall  replace  them  or  make  lull  ifstilution. 

Aktki  K  VII. — Any  person  removing  from  the  Hall,  without  permis- 
sion from  the  jirojier  authorities,  any  book,  newspaper  or  other  property 
in  charge  of  tiie  Lil>rary  Committee,  shall  l)e  reported  to  the  Committee, 
who  may  inflict  any  fine  not  exceeding  twenty-five  dollars. 

Article  VIII. — No  member  or  holder  of  .second  class  stock,  whose 
annual  c<uitribution  for  the  current  year  shall  be  unpaid  or  who  is  in 
arrears  for  fines,  shall  lie  entitled  to  the  privileges  of  the  T.,ibrary  or 
Reading  Koom. 

Aktici.k  IX.— If  any  member  or  holder  of  second  class  stock,  shall 
refuse  or  neglect  to  comply  with  the  foregoing  rules,  it  shall  be  the  duty 
of  the  .Secretary  to  renorl  him  to  the  Committee  on  the  Library. 


the  .Secretary  to  renorl  nun  to  tlie  tommittee  on  tlie  i.iijrary. 
Aktici.k  X. — Any   Slemlier  or  holder  of  second  class  stock,   detected 
in  mutilating  the  newspapers,  pamphlets  or  books  belonging  to  the  Insti- 
tute siiall  lie  deprived  of  his  right  of  nieinliersiiip,  and  the   name   of  the 
oHeiider  .>^hali  be  made  juiblic. 


■     "-~^^P^^^^-^  ^'^  J 


3^, 


SUBSCRIBE  FOR 


The  Furniture  Trade  Journal, 


The  r^^prrseiifci/ive  of  Anirnrtni  Fiiruiiure  Interests. 


PUBLISHED  TWICE  A  xMOXTH. 


One   Dollar  per  Year. 


2S7  Broadway, 
New  York. 


70  Dearborn  St., 
Chicago. 


PRACTICAL  HINTS 


FURNITURE  MEN. 


,   .HEJvATIHG    TO 


All  kinds  of  Finishin^^  with  full  <liieclions  thcrulor— Varnishes— Polishes- 
Stains  foi;   WpQd,— Dyes  for  Wood-^Gijtung-  i-.vA  Slivering— 
jvecf;ij;)ts:  ?or   tfit;    'Fav't.^i'y— Lagfiers'^  -lUcLls, 
JM-ir 'bit's,,  ic.- --Pictured, '  liinj^ravin^s, 
&c. — Miscellaneous. 


THE  FURNITURE  TRADE  JOURNAL, 

New  York. — Chicago. 
1880, 


THE  GETTY  CCK 
LIBRARY 


TABLE  OF  CONTENTS. 


FINISHING. 

Finishing. — The  process j 

Filling.— Fillers,   For    Walnut,    For   Light   Woods,    For 

Cherry,  For  Oak,  For  Rosewood,  Sizing 2 

Application    of    Varnishes. — Brushes    tor    Varnishing, 

Varnish  Pan '       g 

R  UBBING 9 

Flowing  and  Polishing.— Flowing,  Varnish  Polishing.  .  10 
Varieties  of  Finish.- Dead  Finish,  Varnish  Finish,  Wax 
Finish,  Imitation  Wax  Finish,  Ebony  Finish,  French 
Polishing  The  Ingredients,  French  Polish,  Improved 
Polish,  Water-proof  Polish,  Prepared  Spirits,  Polish  for 
Turner's  Work n 

Staining.— Black  Stain,  Brown  Stain,  Walnut  Stain,  Oak 
Stain,  Rosewood  Stam,  Cherry  Stain,  Red  Stain,  Mahog- 
any Stain,  Surface  Stains,  Crimson  Stain,  Purple  Stain, 
Blue  Stain,  Green  Stain,  Yellow  Stain,  To  Brighten 
Stains jiy 

Dyeing  Wood.— Black  Dye,  Blue  Dye,  Yellow  Dye,  Green 
Dye,  Red  Dye,  Purple  Dye,  Liquid  for  Brightening 
and  Setting  Colors,  Orange  Dye,  Silver  Gray  Dye,  Grav 

^y^ : :  21 

Gilding,  Silvering  and  Bronzing. — Gilding,  The  Requi- 
sities.  Sizes,  Oil-Size,  Parchment  Size,  Gold  Size,  To 
Prevent  Gold  Adhering,  Oil-Gilding,  Burnish-Gilding, 
Preparing  the  Wood-work,  Polishing,  Applying  the 
Size,  Laying  the  Gold,  Burnishing,  Matting  or  Dead- 
Gold,  Finishing,  Shell-Gold,  Silver-Size,  Composition 
for  Frames,  Ornaments,  To  Manipulate  Gold  Leaf, 
Bronzing 25 

Graining  and  Color  Work.— Graining,  The  Process, 
Graining— Grounds,  Light  Wainscot  Oak,  Darker 
Wainscot  Oak,  Dark  Oak,  Very  Dark  Oak,  Mahogany, 
Rosewood,  Bird's  Eye  Maple,  Graining  Grounds,  Mix- 

2  76 


TABLE  OF  CONTENTS. 


ing  Colors,  Cream  Color,  Pearl  Grey,  Fawn,  Buft",  Straw, 
l^rab.  Purple,  \'iolet,  French  Grey,  Silver,  Dark  Chest- 
nut, Salmon,  Peach  Plossom,  Lead,  Dark  Lead,  Choco- 
late, I-ight  Yellow,  Stone,  Olive  Green.  Grass  Green 
Carnation,  Imitation  of  Gold,  Colors  for  Outlines  of 
Ornaments,  Tones,  Tints,  Shaiies,  Tempera,  Distemper. 
Color  Harmony  in  Grained  Work,  Chinese  White, 
Mixing  White  Lead,  \' arnish  Green 33 

VARNISHES. 

Gf.Ms  AND  Their  Qualities. — Amber,  Anime,  Copal, 
Oil  Varnishes,  Spirit  Varnishes,  Lac,  Sandarac,  Mastic, 
Damar,  R  esin 42 

The  Solvents. — Linseed-oil,  Oil  of  Turpentine,   Alcohol, 

Naptha 45 

Preparation  of  Oil-Varxishes. — Copal  Varnish,  Artists 
Virgin  Copal,  Cabinet  Varnish,  Best  Body  Copal,  Car- 
riage N'arnish,  Wainscot  Varnish,  Pale  Amber  \'arnish  .     47 

Preparation  of  Spirit  .\nd  Terpentine  Varnishe.s. — 
Best  White  Hard  Spirit  Varnish,  White  Hard  Varnish, 
White  Spirit  Varnish,  Brown  Hard  .Sjiirit  \'arnish, 
Hard-wood  Lacker,  French  Polish,  Bleached  Shellac, 
Lacker  for  Brass,  Colored  Lackers,  Mastic  Varnish, 
Turpentine  \'arnish.  Crystal  Varnish,  Paper  \'arnish, 
Water  Varnish,  Sealing-Wax  Varnish,  Black  Varnish, 
Varnish  for  Iron,  Varnish  for  Cane  and  Basket  Work.  .     5G 

POLISH  REVIVERS,  ETC. 

Polish  Revivek.s. — French  Polish  Revivers,  Furniture 
Reviver,  Furniture  Cream,  Furniture  Paste,  Several 
Receipts  for  Furniture  Cream,  White  Furniture  Cream.     09 

GLUE. 

Gluk — To  Prepare  Glue,  Mixing  Glue,  Glue-Pot,  To 
Prevent  Glue  Cracking,  Strong  Glue  to  Resist  Mois- 
ture, Portable  Glue "2 

MISCELLANEOUS  RECEIPTS. 

To  Raise  Old  Veneers. — To  Take  Out  Bruises  in  Furni- 
ture, To  Make  Paste  for  Laying  Cloth  or  Leather, 
Cements  for  .Stopping  P'laws  in  Wood,  Mahogany — 
Colored  Cement,  Cement  for  Turners,  Tracing  Paper, 
Mounted  Tracings,  Cracks  in  Drawing  Boards,  To 
Temper  'I'ools,  Hardening  Tools,  To  Cut  .Steel  Scrap- 
ers, To  Remedy  Splits  in  Circular  Saws,  Brazing  Band- 


TABLE  OF  CONTENTS.  Ill 


saws,  Saw  Sharpening,  Oiling  Tools,  To  Mark  Tools, 
Varnish  for  Tools,  Boiler  Incrustation,  Non-Conducting 
Coverings  for  Steam  Pipes,  To  Harden  Wood  Pulleys, 
To  Prevent  Belts  Slipping,  Rasps,  Soft  Files,  Amal- 
gain  Varnish,  Painting  and  Preserving  Ironwork,  Pre- 
paring Soft  Solder,  To  Clean  Silver  Filigree,  Bronzing 
on  Metal,  Polishing  Metals,  Imitation  Marble,  To  Pol- 
ish Marble,  To  Clean  Marble,  To  Remove  Stains  from 
Marble,  To  Clean  Pictures,  Cleaning  Varnished  Pic- 
tures, Cleaning  Engravings,  To  Smooth  a  Damaged 
Picture,  Embossed  Gilding  for  Illuminating,  Gold  for 
Illuminating,  To  Stain  Horn  in  Imitation  of  Tortoise 
Shell,  To  Stain  Ivory  or  Bone  Red,  Black,  Green,  Blue, 
Yellow,  To  Soften  Ivory,  To  Bleach  Ivorj',  Artificial 
Ivory,  Cement  for  Joining  Leather,  Cement  for  Leather 
and  Wood,  Cement  for  China,  Cement  for  Glass,  Ce- 
ment for  Aquariums,  To  Restore  the  Elasticity  of 
Caned  Chair  Bottoms,  Moths  in  Carpets,  To  Destroy 
Moths  in  Carpets,  To  Clean  Carpets,  To  Make  Parch- 
ment Transparent,  Tinting  on  Parchment,  India  Ink 
Running,  Erasing  India  Ink,  To  Make  Carbon  Paper, 
Removing  Oil  Stains  from  Tiles,  To  Polish  Floors, 
Black  Wax,  Green  Wax,  To  Polish  Tortoise  Shell  or 
Horn,  To  Clean  Looking-Glasses,  To  Remove  Ink- 
Stains,  To  Remove  Stains  from  Wood,  To  Clean  Vel- 
vet, To  Remove  Paint  or  Stain  from  Wood,  To  Remove 
Varnish  from  Wood,  Tests  for  Gilding,  Anti-Attrition, 
To  Remove  Grease  from  Cloth,  Putty 76 


FINISHING. 


Finishing  is  the  process  of  applying  to  the  surface  of  wood  a 
tlnin  coating  of  varnisli  or  other  substance,  to  render  it  durable, 
enhance  its  beauty  or  change  its  appearance.  There  are  numerous 
methods  of  finishing,  and  a  variety  of  materials  are  used ;  the 
varieties  of  varnish  being  the  principal.  The  distinctive  qualities 
of  these  varieties  are  treated  under  the  article  Varnlshes. 

In  their  natural  state  all  woods  are  more  or  less  porous,  consist- 
ing of  bundles  ot  hard  fibres,  with  interstices  filled  with  a  softer 
substance.  These  constitute  the  grain,  and  as  the  hard  or  soft 
parts  predominate  the  wood  is  said  to  be  hard,  irne,  or  close- 
grained,  or  soft  and  open-grained.  To  fill  these  softer  parts,  or 
pores,  and  give  to  the  whole  an  even,  uniform  surface,  hard,  and 
capable  of  a  brilliant  polish,  is  the  object  of  the  finishers'  art. 
This  hard,  firm  surface  was  formerly  gained  by  the  successive 
application  of  several  coats  of  varnish,  at  least  three  preliminary 
coats  being  required  to  fill  the  pores;  the  inequalities  were  then 
reduced  by  fine  sand  or  glas's-paper,  and  several  additional  coats 
laid  on,  the  last,  after  becoming  thoroughly  hard,  being  polished 
if  desired.  In  this  operation,  however,  a  great  quantity  of  varnish 
is  absorbed  by  the  open  pores  of  the  wood,  and  it  is  consequently 
so  expensive  that  it  is  now  seldom  used.  Recourse  is  therefore 
had  to  various  plans  to  render  the  wood  non-absorbent  before 
applying  varnishes,  and  certain  compounds  called  fillers  are 
largely  used  for  this  purpose. 

The  Processe.s. — Finishing,  although  comprehending  many 
minute  sub-divisions,  may  be  divided  into  four  principal  processes, 
i.  c,  Filling,  Varnishing,  Rubbing,  and  Flo\ving,Polishing, 
&c.     Each  of  them  are  treated  at  length  in  their  proper  order,  and 


TRACTICAL   HINTS 


for  full  iiilbrinatiou  regarding  the  successive  operations,  the 
learner  must  refer  to  these  heads :  here  we  shall  give  a  general 
A'iew  of  the  entire  operation  without  details.  The  process  des- 
cribed is  tor  fine  work.  First  make  the  article  to  be  finished 
•quite  clean  and  free  from  dust;  then  apply  the  proper  filler  witli 
a  brush;  rub  it  well  into  the  grain  with  e.\celsior  or  tow,  rubbing 
across  the  grain  when  practicable,  then  clean  all  the  surplus  filler 
from  the  surface]with  rags;  after  filling,  allow  the  article  to  stand 
for  several  hours,  during  which  time  the  filler  should  become 
quite  hard  and  dry.  Before  proceeding  to  apply  the  varnish,  if 
necessary,  make  the  surface  of  the  filler  quite  smooth,  with  sand- 
paper; then  apply  a  coat  of  varnish,  allowing  it  to  get  quite  hard; 
after  the  last  coat  of  varnish,  with  fine  sand-paper,  sand-paper 
the  surface  sufficiently  to  make  it  entirely  .smooth  and  remove 
any  lumps  or  irregularities.  The  number  of  coats  required  de- 
pends greatly  upon  the  quality  of  filler  used,  regarding  which 
some  remarks  will  be  found  under  the  head  of  Filler.s.  It  is 
said  that  with  some  fillers  one  coat  of  varnish  is  sufficient,  but 
this  can  scarcely  be  the  case  with  fine  work,  as  it  is  not  possible 
for  one  coat  of  varnish  to  give  sufficient  body  to  rub ;  four,  or 
possibly  three  coats  are  more  desirable.  When  the  last  coat  of 
varnish  has  been  applied,  the  article  is  ready  for  "  rubbing"  with 
pumice  stone,  moistened  with  linseed  oil  and  applied  with  a  bit  of 
hair-cloth  or  coarse  rag.  This  is  for  the  purpose  of  making  the 
varnish  perfectly  smooth  and  preparing  it  for  the  polishing. 
After  rubbing,  if  a  dead  finish  is  desired,  the  work  is  complete,  but 
the  body  of  the  work  is  generally  cleaned  up  with  a  little  oil  well 
rubbed  in,  which  gives  it  a  lustre,  afterward  rubbed  with  a  cloth 
dampened  with  alcohol  which  removes  the  surplus  oil  from  the 
surface.  The  veneered  panels  are  either  "flowed"  or  "polished," 
which  processes  are  described  under  these  heads. 

FILLING. 
Fillers- -These  compounds  play  a  very  important  part  in  the 
art  of  finishing,  not  only  in  the  great  economy  of  material  and 
time  required,  but  in  producing  a  handsomer  and  more  durable 
finish  than  possible,  except  at  great  cost,  without  them.  Oil  is 
sometimes    used    as   a    filler,   but   its    use    is    not   recommended- 


FOR    FURNITURK    MEN. 


applied  directly  to  the  wood  its  effect  is  to  swell  the  fibres,  or 
"  raise  the  grain,"  which  remains  in  that  condition  until  the  oil 
becomes  entirely  dry,  or  disappears.  During  all  this  time  the 
fibres  are  gradually  shrinking,  and  consecpiently  moving  or 
checking  the  varnish.  The  qualities  essential  to  a  good  filler  are: 
that  it  shall  readily  enter  the  porous  portion  of  the  wood,  and 
shall  very  soon  harden  and  render  the  wood  impervious  to  the 
varnish,  which  should  lie  smoothly  upon  the  surface,  giving  bril- 
liancy and  effect  to  the  natural  beauty  of  the  wood;  that  it  shall 
not  raise  the  grain  of  the  wood;  that  it  shall  not  change  the 
color  of  the  wood.  These  conditions  ai'e  satisfactorily  filled  by 
very  few  of  the  home-made  fillers  ordinarily  used  in  shops,  and 
while  we  give  a  number  of  receipts,  our  readers  are  advised  that 
they  will  obtain  better  satisfaction,  at  less  cost,  by  purchasing 
some  of  the  patent  fillers  now  coming  into  general  use,  of  which 
we  can  recommend  the  very  excellent  fillers  of  the  Bridgeport 
Wood  Finishing  Co.,  New  York,  and  J.  W.  Kenna  &  Co., 
Chicago.  In  these  fillers  very  little  oil  is  used  and  a  large  amount 
of  dryers,  so  that  the  wood  becomes  perfectly  dry  and  hard  in  a 
few  hours,  preventing  any  swelling  or  shrinking  of  the  fibres  of 
the  wood  after  the  varnish  is  applied.  The  following  fillers  should 
be  allowed  to  di-y  until  quite  hard.  About  eight  hovirs  are  usually 
sufficient. 

Walnut  Filler — P'or  Medium  and  Cheap  Work. — 10  lbs. 
bolted  English  whiting,  3  lbs.  dry  burnt  umber,  4  lbs.  Vandyke 
brown,  3  lbs.  calcined  plaster,  ^  lb.  Venetian  red,  1  gal.  boiled 
linseed  oil,  J^  gal.  spirits  turpentine,  1  quart  black  japan.  Mix 
well  and  apply  with  brush;  rub  well  with  excelsior  or  tow,  clean 
oft"  with  rags. 

Walnut  Filler. — For  Imitation  Wax-Finish — 5  lbs.  bolted 
whiting,  1  lb  calcined  plaster,  6  ounces  calcined  magnesia,  1  ounce 
dry  burnt  umber,  1  ounce  French  yellow,  1  quart  raw  linseed  oil,  1 
quart  benzine  spirits,  ^  pint  very  thin  white  shellac.  Mix  well 
and  apply  with  a  brush.  Rub  well  in  and  clean  oft"  with  rags. 
Before  using  the  above  filling  give  the  work  one  coat  of  white 
shellac.     When  dry,  sand-paper  down  and  apply  the  filler. 


PRACTICAL    HINTS 


Walnut  Filler. — For  First-Class  Work — 3  lbs  burnt  umber 
ground  in  oil,  1  lb  burnt  sienna  ground  in  oil,  1  quart  spirits  tur- 
pentine, 1  pint  brown  japan.  Mix  well  and  apply  with  a  brush ; 
sand-paper  well;  clean  oil' with  tow  and  rags.  This  gives  a  beau- 
tiful chocolate  color  to  the  wood. 

Filler  for  Light  Woods. — 5  lbs  bolted  English  whiting,  3 
lbs  calcined  plaster,  ^  gallon  raw  linseed  oil,  1  quart  spirits  tur- 
pentine, 1  quart  brown  Japan,  and  sufficient  French  yellow  to 
tinge  the  white.  Mix  well  and  apply  w  ith  a  brush,  rub  in  with 
excelsior  or  tow,  and  clean  off  with  rags. 

Filler  for  Light  Woods. — 10  lbs  bolted  English  whiting,  5 
lbs.  calcined  plaster,  1  lb.  corn  starch,  3  ounces  calcined  magnesia, 
1  gallon  raw  linseed  oil,  ^  gallon  spirits  turpentine,  1  quart  brown 
japan,  2  ounces  French  yellow.  Mix  well  and  apply  with  brush, 
rub  in  with  excelsior  or  tow,  and  clean  off  with  rags. 

Filler  for  Cherry.- -5  lbs.  bolted  English  whiting,  2  lbs. 
calcined  plaster,  \j4,  ounces  dry  burnt  sienna,  1  ounce  Venetian 
red,  1  quart  boiled  linseed  oil,  1  pint  spirits  turpentine,  1  pint 
brown  japan.  Mix  well,  rub  in  with  excelsior  or  tow,  and  clean 
off  with  rags. 

Filler  for  Oak. — 5  lbs.  bolted  English. whiting,  2  lbs.  calcined 
plaster,  1  ounce  dry  burnt  sienna,  ^  ounce  dry  French  yellow,  1 
quart  raw  linseed  oil,  1  pint  benzine  spirits,  %  P>rit  white  shellac. 
Mix  well,  apply  with  brush,  rub  in  with  excelsior  or  tow,  and  clean 
off  with  rags. 

Filler  for  Rosewood. — 6  lbs.  bolted  English  whiting,  2  lbs. 
calcined  plaster,  1  lb.  rose  pink,  2  ounces  Venetian  red,  ^  lb. 
Vandyke  brown,  %.  lb.  brandon  red,  1  gallon  boiled  linseed  oil, 
^  gallon  spirits  turpentine,  1  quart  black  japan.  Mix  well,  apply 
with  brush,  rub  in  with  excelsior  or  tow,  and  clean  off  with  rags. 

Sizing. — Size  of  different  kinds  is  sometimes  applied  to  the 
surface  of  wood  to  prevent  absorption  of  the  varnish.  The  kind 
of  material  used  for  the  size  is  not  important,  the  object  being 
only  to  prevent  absorption  by  a  very  thin  coat  of  some  substance 
not  soluble  in   the  varnish.      For  dark-colored  woods,  thin  size, 


FOR    FURNITURE    MEN. 


made  by  reducing  ordinary  glue  witli  water,  is  generally  used ;  but 
for  lighter-colored  surfaces,  a  white  size  is  used,  which  is  prepared 
by  boiling  white  kid  or  other  leather,  or  parchment  cuttings,  in 
water  for  a  few  hours,  or  until  it  forms  a  thin  jelly-like  substance, 
which  is  reduced  with  water  to  a  thin  consistency,  and  used  in  a 
tepid  state.  Sometimes  solutions  of  isinglass  or  tragacanth  are 
employed  in  like  manner. 

Unlike  the  best  fillers,  sizes  of  any  kind  do  not  improve  the 
finish,  and  are  sometimes  a  positive  detriment  to  it.  They  are 
used  solely  as  an  economy  to  reduce  the  quantity  of  the  varnish 
needed,  and  their  use  is  not  recommended  for  the  best  work. 

APPLICATION  OF  VARNISHES. 

Preliminary  to  applying  the  varnish  the  pores  of  the  wood 
should  be  filled,  according  to  instructions  given  in  the  preceding 
receipts.  Sufficient  time  should  be  allowed  for  the  filler  to  become 
perfectly  hard,  and  if  any  lumps  or  inequalities  remain,  the  surface 
should  be  made  perfectly  smooth  by  the  use  of  glass  paper.  All 
dust,  specks,  etc.,  should  be  carefully  removed  by  the  brush  made 
for  that  purpose,  and  the  work  is  then  ready  for  the  varnish. 

Varnishes  of  all  kinds  should  be  uniformly  applied,  in  very  thin 
coats, sparingly  upon  the  edges  and  angles, where  the  varnish  is  liable 
to  accumulate.  In  first  placing  the  brush  on  the  surface,  it  should 
be  applied,  not  close  to  the  edge,  which  would  be  liable  to  give  too 
thick  a  coat  at  that  part,  but  at  a  little  distance  from  the  edge,  and 
the  strokes  of  the  brush  should  be  directed  towards  the  ends  alter- 
nately, with  steady  rapid  strokes,  and  only  very  moderate  pressure. 
If  the  surface  is  small,  the  whole  may  be  passed  over  in  one  oper- 
ation, and  then  the  brush  may  be  returned  to  the  edge  at  which 
work  was  begun,  and  it  may  be  passed  over  the  surface  a  second 
or  a  third  time,  to  distribute  the  varnish  uniformly,  and  work  out 
the  air  bubbles.  Sometimes,  in  small  surfaces,  the  second  series  of 
strokes  is  made  at  right  angles  to  the  first,  in  order  to  distribute 
the  varnish  more  es|,ually,  and  the  third  is  laid  on  in  the  same 
direction  as  the  first;  but  unless  this  is  done  expeditiously  and 
equally,  it  leaves  cross-lines,  which  injure  the  appearance  of  the 
work. 


6  PRACTICAL    HINTS 

Large  surfaces  are  more  difficult,  as  the  varnish  thickens  too 
rapidly  to  allow  of  the  entire  surface  being  covered  at  one  opera- 
tion. They  must  therefore  either  be  worked  gradually  from  the 
one  edge  to  tlie  other,  as  in  lading  a  tint  of  water-coior,  or  the 
varnish  must  be  applied  upon  separate  portions  successively ;  but 
it  is  rather  difficult  to  join  the  portions  without  leaving  irregular 
marks.  It  may,  however,  be  successfully  accomplished  by 
thinning  off  the  edge  with  light  strokes  of  the  brush  made  in  the 
same  direction  as  those  on  the  finished  portion ;  but  some  care  is 
required  to  avoid  disturbing  the  former  coat  while  it  is  still  soft 
and  easily  acted  upon  by  the  fresh  varnish.  In  the  same  manner, 
in  laying  on  a  second  or  any  subsequent  coat  of  varnish,  care 
must  be  taken  not  to  continue  the  application  of  the  brush  suffici- 
ently long  to  disturb  the  previous  coat,  which  is  speedily  softened 
by  the  fresh  varnish;  and  if  the  application  of  the  brush  were 
continued  too  long,  the  preceding  coat  would  be  disturbed,  giving 
to  the  work  an  irregular  or  chilled  appearance.  A  sufficient  inter- 
val of  time  should  be  allowed  between  each  coat  for  the  perfect 
evaporation  of  the  solvent,  whether  alcohol,  turpentine  or  oil. 
The  time  required  for  this  depends  partly  upon  the  kind  of  varnish 
employed,  and  partly  on  the  state  of  the  atmosphere.  Under 
ordinary  circumstancss,  spirit  varnishes  generally  require  from 
two  to  three  hours  between  every  coat;  turpentine  varnishes 
mostly  require  six  or  eight  hours;  and  oil  varnishes  still  longer — 
sometimes  as  much  as  twenty-four  hours.  But  whatever  time 
may  be  required,  the  second  layer  should  never  be  added  until  the 
first  is  permanently  hard;  as  when  one  layer  is  defended  from  the 
air  by  a  second,  its  drying  is  almost  stopped,  and  it  remains  soft 
and  adhesive. 

in  applying  spirit  \arnish,  some  little  tact  and  expedition  are 
necessary,  in  order  to  spread  the  varnish  uniformly  over  the  sur- 
face before  it  becomes  too  much  thickened  by  evaporation,  or  it 
will  exhibit  a  very  irregular  surface  when  finished.  If  the  surface 
does  not  exceed  a  few  inches  square,  no  material  difficulty  is  exper- 
ienced, as  the  whole  may  be  brushed  over  two  or  three  times 
before  the  varnish  becomes  too  thick ;  but  surfaces  containing  two 
or  three  square  feet  present  much  greater  difficultv,  as  it  is  neces- 


FOR    P^URNITURE    MEN. 


sary  that  the  varnish  should  be  sufficiently  worked  with  the  brush 
to  exclude  all  minute  air-bubbles,  which  would  spoil  the  appear- 
ance of  the  work,  and  can  seldom  be  entirely  removed  until  just 
before  the  varnish  is  becomingjto  thick  to  flo-v  or  spread  uniformly 
after  the  brush  has  passed  over  it. 

Turpentine  and  oil  varnishes  are  applied  in  the  same  general 
manner  as  spirit  varnishes :  but  as  they  dry  more  slowly,  more 
time  may  be  occupied  in  laying  on  the  varnish,  and  therefore 
large  surfaces  may  be  more  easily  and  uniformly  covei-ed ;  but  the 
same  precautions  with  respect  to  the  dryness  and  waririth  of  the 
atmosphere  are  likewise  desirable  when  it  is  wished  to  produce  a 
brilliant  surface. 

Every  precaution  should  also  be  taken  to  prevent  any  dust,  or 
loose  hairs  from  the  brush,  becoming  accidentally  attached  to  the 
varnish.  Should  this  occur  they  will  require  to  be  carefuHv  picked 
out  with  the  point  of  a  pen-knife  and  the  surface  of  the  varnish 
leveled  with  fine  glass-paper,  prior  to  the  application  of  the  next 
coat. 

In  using  spirit  varnishes,  it  is  at  all  times  of  the  first  importance 
that  particular  attention  should  be  given  to  doing  the  varnishing 
in  a  dry  atmosphere ;  as  all  solutions  of  resins  in  alcohol  are  pre- 
cipitated by  the  addition  of  water,  not  only  as  visible  moisture,  but 
even  as  vapor,  which  is  at  all  times  deposited  by  the  atmosphere 
at  a  reduced  temperature,  in  the  form  of  invisible  dew,  and  in  this 
state  it  precipitates  the  resin  in  the  thin  coat  of  varnish,  and  gives 
the  surface  a  milky,  clouded  or  opaque  appearance,  when  the  var- 
nish is  said  to  be  chilled.  But  this  effect  is  frequently  produced 
even  on  a  warm  and  apparently  fine  summer  day,  when  the  atmos- 
phere happens  to  be  more  than  usually  charged  with  moisture. 
This  is  a  frequent  stumbling  block  in  varnishing,  and  is  only  to  be 
obviated  by  carrying  on  the  process  in  a  room  sufficiently  warmed 
to  keep  the  moisture  suspended  in  the  air  until  the  solvent  has 
completely  evaporated. 

Not  only  should  the  room  be  sufficientlv  heated,  but  all  currents 
of  cold  air  must  be  avoided,  as  cold  drafts  if  suffered  to  pass  over 
the  recently  varnished  surface,  are  quite  sufficient  to  dull  the  var- 
nish wherever  they  extend.     When  the  varnish  has  been  chilled, 


8  PRACTICAL    HINTS 

the  brilliancy  and  clearness  may  frequently  be  restored  by  giving 
the  chilled  surface  another  thin  coat  of  varnish,  taking  care  to 
avoid  the  causes  of  the  former  failure,  and  immediately  holding  the 
varnished  surface  at  a  moderate  distance  froin  a  fire,  so  as  to  warm 
it  sufficiently  to  partially  re-dissolve  the  chilled  coat;  but  care  is 
necessary  to  avoid  heating  the  varnish  so  much  as  to  raise  blisters, 
in  which  case  no  remedy  would  remain  but  to  scrape  off  the  entire 
coat. 

The  temperature  generally  preferred  for  the  varnish  room  is 
about  72  deg.  F.,  but  a  few  degrees  more  or  less  are  not  important 

Brushes  for  Varnishing. — For  spirit  varnishes,  camels-hair 
pencils  and  brushes  are  used,  the  sizes  of  which  vary  from  one- 
quarter  to  three-quarters  of  an  inch  diameter,  according  to  the  size 
of  the  work.  When  the  surfaces  are  very  large,  flat  camel-hair 
brushes  are  used ;  but  from  their  comparative  thinness  they  scarcely 
contain  a  sufficient  quantity  of  varnish  to  preserve  the  brush 
uniformly  charged  in  passing  over  a  large  surface.  Turpentine 
and  oil  varnishes  require  less  delicacy ;  and  flat  brushes,  made  of 
fine  soft  bristles,  are  generally  used,  or  sometimes  ordinary  paint- 
ing brushes  are  employed,  but  they  are  rather  harsh,  and,  owing  to 
the  adhesion  of  the  varnish,  the  hairs  are  apt  to  be  loosened,  and 
come  out.  Brushes  should  always  be  kept  perfectly  soft  and  clean, 
and  therefore  should  never  be  laid  aside  when  through  work,  with- 
out cleaning.  For  this  purpose  turpentine  is  best;  the  brushes  can 
either  be  washed  out  quite  clean  in  it,  dried  on  a  cloth,  and  laid 
aside,  or  the  bristles  can  be  partially  immersed  in  turpentine  and 
allowed  to  remain  in  it  until  wanted  for  use.  Warm  \vater  and 
soap  will  also  serve  to  clean  the  brushes.  IC,  however  the  brushes 
are  laid  aside  without  being  thoroughly  cleaned,  they  will  certainly 
be  ruined  by  the  hardening  of  the  varnish. 

Varnish  Pan. — This  can  be  procured  at  the  color-shops.  It  is 
constructed  of  tin,  with  a  false  bottom  ;  the  interval  between  the 
two  bottoms  is  filled  with  sand,  which  being  heated  over  the  fire 
keeps  the  varnish  fluid,  and  it  flows  more  readily  from  the  brush. 
There  is  a  tin  handle  to  it,  and  the  false  bottom  slopes  from  one 
end  to  the  other,  which  gives  sufficient  depth  when  the  varnish  is 


FOR    FURNITURE    MEN.  9 

low.  It  should  also  have  a  wire  fixed  across  the  top  to  wipe  the 
brush  against.  An  ordinary  preserve-jar  is  frfquently  used  for 
containing  the  varnish,  and  is  sufficiently  suitable;  but  it  also 
should  have  a  wire  or  string  stretched  across  the  top,  for  reducing 
the  quantity  of  varnish  taken  up  by  the  brush.  The  quantity  of 
varnish  poured  into  the  jar  should  be  sufficient  to  nearly  cover  the 
hairs  of  the  brush  in  order  to  keep  it  soft.  Too  small  a  quantity 
of  varnish  is  liable  to  thicken  rapidly  by  evaporation,  which  should 
at  all  times  be  prevented  as  far  as  possible,  by  keeping  the  vessel 
closely  covered  when  not  in  actual  use. 

RUBBING. 

This  part  of  the  finishing  process  is  that  which  gives 
to  the  varnish  when  laid  upon  the  wood  a  degree  of  smooth- 
ness not  otherwise  attainable;  for  by  the  use  of  the  brush  alone, 
minute  furrows  and  ridges  are  left  upon  the  plastic  surface  of 
the  varnish ;  and  although  good  varnish  possesses  in  itself  a  high 
gloss,  the  gloss  is  not  nearly  so  agreeable  to  the  eye  as  the  bril- 
liant polish,  of  which  rubbing  is  the  preliminary.  The  reduction 
of  these  ridges  and  furrows  is  accomplished  by  means  of  finely- 
powdered  pumice-stone  moistened  with  raw  linseed  oil,  applied 
with  a  piece  of  hair-cloth  or  other  coarse  and  fibrous  material. 
For  rubbing  large  flat  surfaces  the  hair-cloth  is  sometimes  folded 
over  a  block  of  convenient  size,  but  this  is  not  practicable  for 
articles  of  small  size  or  irregular  shape.  In  rubbing  considerable 
force  must  be  used,  but  the  stroke  should  be  steady  and  as  long  as 
possible,  and  great  care  should  be  taken  to  rub  the  surface  uni- 
formly, as  in  case  it  is  rubbed  unevenly  the  varnish  is  liable  to  be 
worn  away  quite  to  the  wood  in  some  places,  and  the  perfect 
smoothness  that  is  the  beauty  of  a  good  finish  will  thus  be  impos- 
sible. The  edges  especially  are  liable  to  be  rubbed  bare,  and 
should  be  carefully  treated.  The  crevices  and  hollows  of  carv- 
ings are  rubbed  by  means  of  hard  pointed  sticks  of  various  con- 
venient sizes.  The  rubbing  should  be  continued  until  the  entire 
surface  appears  perfectly  smooth  and  free  from  marks  of  any 
kind.  The  surplus  pumice-stone  and  oil  should  all  be  carefully 
removed  from  the  surface  by  means  of  rags,  and  the  work  may 


10  PRACTICAL    HINTS 

then  be  cleaned  up  with  a  little  sweet  oil  well  rubbed  in,  and 
retouched  with  a  cloth  slightly  dampened  in  alcohol,  which  serves 
to  remove  any  remaining  oil  from  the  surface.  If  article  has 
\eneered  panels,  thej  are  now  ready  for  the  final  processes  of 
'■polishing"  or  "flowing." 

FLOWING  AND  POLISHING. 

Flowing. — Flowing  is  the  process  of  giving  the  work,  after  it 
has  been  properly  prepared,  a  coat  of  varnish  made  expressly  for 
that  purpose,  called  flowing  varnish.  Veneered  panels  are  usually 
finished  this  way.  Some  finishers,  when  the  body --work  is  to  be 
dead-finish  with  flowed  panels,  coat  the  panels  with  the  same 
varnish — shellac  or  other — used  for  the  body,  and  rub  them  with 
pumice-stone  and  oil ;  in  fact,  up  to  the  point  of  flowing  make  no 
difference  whatever  in  the  treatment  of  the  body-work  and  the 
panels.  Such  treatment  is  not  recommended;  whatever  varnish 
is  used  for  the  bodj'-work,  the  panels  should  be  coated  with  two 
or  three  coats  of  the  best  rubbing  varnish ;  oil  should  not  be  used 
for  rubbing,  as,  if  the  surface  is  at  all  greasy,  the  subsequent  coat 
of  flowing  varnish  cannot  be  evenly  laid,  therefore  water  should 
be  used  with  the  pumice-stone  for  rubbing,  in  place  of  oil.  After 
the  rubbing  is  completed,  wash  oft"  with  a  sponge  and  dry  with  a 
chamois  skin.  Let  it  stand  for  a  day,  and  after  freeing  the  work 
of  all  pumice-stone  and  dust,  take  it  to  the  flowing-room,  which 
should  be  clean,  dry,  and  free  from  dust  and  all  drafts  of  air,  apply 
the  varnish  with  a  flat  brush  of  suitable  width  made  of  badger  or 
fitch  hair;  lay  the  varnish  on  smoothly  and  evenly,  leaving  no 
marks  of  the  brush.  The  quicker  tiie  varnish  is  put  on,  and  the 
less  it  is  worked,  the  better  it  will  look.  Let  it  stand  in  the  room 
until  it  is  hard  enough  to  handle.  Upholstered  work  should  not 
be  flowed  until  it  comes  from  the  hands  of  the  upholsterer  and  is 
ready  for  the  ware-rooms. 

Varnish  Poli.shing. — Tliis  process  is  used  when  it  is  desired  to 
give  to  the  work  a  bright  lustre,  different  from  the  natural  gloss,  and 
resulting  from  a  perfectly  smooth  surface  produced  by  rubbing. 
The  previously  applied  coats  of  rubbing  varnish  having  been 
rubbed  down  with  pumice-stone  and  water,  one  or  more  coats  of 


FOR    FURNITURE    MEN.  11 

polishing  varnish  is  appHed,  rubbed  down  as  before,  and  brought 
toabright  mirror-like  surface  with  rotten-stone  and  water.  Clean 
up  with  a  little  sweet  oil,  and  afterward  with  a  cloth  dampened  in 
alcohol. 

VARIETIES  OF  FINISH. 

The  processes  of  finishing  having  been  described,  it  now 
remains  to  explain  varieties  of  finishing  in  use;  these  are  largely 
derived  from  the  peculiar  qualities  of  the  different  varnishes  used, 
for  full  explanation  of  which  see  article  Varnishes.  Polishing- 
varnishes,  which  are  very  hard  and  durable,  are  so  called  because 
their  surface  can  be  brought  to  a  high  luster  by  rubbing  with  the 
proper  materials.  Flowingor  finishing- varnishes  contain  more 
oil  than  polishing-varnishes,  dry  more  slowly,  and  are  softer,  but 
their  peculiar  qualities  are  brilliancy  and  durability,  fitting  them 
for  work  requiring  a  brilliant  gloss,  such  as  veneered  panels. 
Rubbing-varnishes  are  those  that  dry  sufficiently  hard  to  admit  of 
being  rubbed  to  a  smooth  surface.  Turpentine  varnishes,  being 
the  cheapest  variety  are  employed  for  cheap  work,  such  as  com- 
mon chairs,  bedsteads,  (Sic.  In  general  terms  it  may  be  said  that 
the  particular  filler,  stain  or  other  preliminary  application  used 
exercises  on  important  influence  over  the  appearance  of  the  finish, 
and  that  a  great  variety  of  combinations  are  possible.  For  dif- 
ferent woods  different  fillers  are  used,  the  basis  in  most  cases 
being  the  same,  the  difference  being  principally  in  the  coloring 
material,  and  this  is  capable  of  great  variation,  to  suit  individual 
tastes.  The  same  is  true  of  stains,  and  under  the  head  of  Stains 
and  Fillers  will  be  found  all  needed  information  concerning  the 
applications  proper  for  diflierent  woods,  with  methods  for  using 
them.  The  varnish  or  other  covering  material  used  subsequently, 
will  here  be  treated  of  separately. 

Dead-Finish. — This  term  is  applied  to  the  finish  produced  by 
the  reduction  of  any  of  the  rubbing  varnishes  with  powdered 
pumice-stone  and  raw  linseed  oil,  (see  Rubbing)  the  surface  thus 
produced  being  left  in  the  semi-lustrous  state,  by  omitting  the 
polishing  process.  It  is  now  more  used  than  any  other  for  body 
work,  shellac  varnish  being  generally  employed  because  of  its 


12  PRACTICAL    HINTS 

adaptation  to  the  requirements  of  fine  cabinet-work,  and  its  prop- 
erties of  quick  and  hard  drying.  Copal,  anime  and  amber 
varnishes  are  also  used,  but  are  slower  drying.  Veneered  panels 
are  usually  "  flowed  "  or  "  polished  "  when  the  body  work  is  dead- 
finished.  The  number  of  coats  required  depends  somewhat  upon 
the  quality  of  the  filler,  but  usually  three  coats,  and  sometimes 
less  are  amply  sufficient. 

Varxish  Fixish. — Forclieap  work — One  coat  of  filler  or  stain, 
followed  by  one  coat  of  cheap  turpentine  varnish,  without  rubbing. 
In  this  class  of  work,  the  brilliancy  of  the  gloss  and  covering 
qualities  of  the  varnish  are  principally  considered.  The  cheaper 
turpentine  varnishes  have  a  brilliant  gloss,  and  dry  very  hard,  but 
the  gloss  is  not  permanent,  and  after  drying,  the  gum  is  very 
brittle  and  easily  cracked  and  broken.  The  gum  used  is  princi- 
pally common  resin. 

Wax  Fixisii. — Mix  together  with  heat,  white  wax  and  spirits 
of  turpentine  to  the  consistency  of  thick  paste;  when  cold,  apply 
it  to  the  work  with  a  rag;  rub  on  heavily  so  as  to  fill  the  pores  of 
the  wood ;  remove  all  wax  from  the  surface  with  a  wooden  scraper 
made  in  the  shape  of  a  carpenter's  chisel;  smooth  off  with  a 
bunch  of  soft  rags  by  rubbing  hard  and  quick  for  a'few  minutes; 
finish  with  a  little  French  polish  applied  with  a  cotton  pad.  (See 
Frexcii  Polish.)  For  table  tops  and  all  large  flat  surfaces, 
allow  the  wax  to  remain  on  and  finish  with  a  warm  iron  by  pass- 
ing it  lightly  and  quickly  over  the  work  until  the  wax  is  made 
smooth  and  the  surface  is  sufficiently  polished.  This  is  not 
considered  a  desirable  finish,  as  it  is  not  durable  and  water  spots 
it  very  easily. 

I.MiTATiox  Wax  Fixish. — Use  the  light  colored  filler,  named 
under  head  of  Fillers.  Apply  three  coats  of  white  shellac;  rub 
down  with  pumice-stone  and  oil;  clean  up  with  brown  japan  and 
spirits  of  turpentine  mixed.    Varnish-polish  the  panels. 

Ebony  Finish. — This  finish  is  usually  applied  to  cherry,  or 
other  light-colored  woods  having  little  grain.  The  ebony  appear- 
ance is  produced  by  the  use  of  a  stain,  various  receipts  for  which 


FOR    FURNITURE    MEN,  13 

will  be  found  under  the  head  of  Stains.  White  shellac  is  the 
varnish  usually  employed,  but  soine  prefer  the  best  rubbing-var- 
nishes. Whatever  varnish  is  selected,  it  should  be  as  near  as 
possible  transparent,  as  otherwise  the  color  of  the  work  will 
appear  to  be  greenish  or  brown.  Not  more  than  three  coats 
should  be  applied,  as  successive  coats  of  the  most  transparent  var- 
nish, will  cause  an  opaque  or  clouded  appearance.  Experience 
and  care  are  required  to  successfully  rub  an  ebonized  article,  as 
the  varnish  must  be  rubbed  almost  to  the  wood,  and  if  rubbed  toa 
deep  a  portion  of  the  stain  is  removed,  leaving  a  spot.  Especial 
care  should  hs  used  in  rubbing  the  angles. 

Ebony  Finlsh. — Instead  of  staining  the  wood  and  applying 
successive  coats  of  transparent  rubbing-varnish,  a  black  varnish 
(or  more  properly  speaking,  a  lacker)  is  often  laid  upon  the  surface 
of  the  wood.  This  process  possesses  the  advantage  of  being  very 
speedy,  not  occupying  inore  time  than  ordinary  spirit-varnishing, 
but  on  the  other  hand,  the  rapid  hardening  of  the  gum  prevents 
the  varnish  from  entering  into  and  becoming  fixed  in  the  pores, 
so  that  it  lies  in  a  thin,  hard,  but  very  brittle  coating  upon  the  sur- 
face, and  is  very  readily  broken  and  scaled  off,  leaving  spots  of  the 
original  color  of  the  wood,  that  cannot  be  properly  repaired. 
Shellac  varnish  is  generally  used  for  this  finish  and  is  prepared  by 
adding  to  it,  drop-black  or  perfectly  pure  lamp-black,  containing 
no  grease  or  other  foreign  substance,  sufficient  to  make  it  perfectly' 
black.  Apply  one  or  more  coats  of  this  to  the  work,  and  finish  by 
adding  the  necessary  number  of  coats  of  brown  shellac,  and 
rubbing  in  the  usual  way.  This  finish  is  employed  when  it  is 
desired  to  engrave  or  carve  a  design  through  ebonized  work,  -thus 
making  the  natural  color  of  the  wood  appear  in  contrast  to  the 
black. 

French  -  Polishing. — This  is  a  method  of  varnishing  by 
rubbing  the  varnish  upon  t'le  surface  of  the  wood  instead  of 
applying  it  with  brushes.  When  varnish  is  applied  simply  with  a 
brush,  a  comparatively  uneven  surface  results,  rendering  necessary 
the  subsequent  processes  of  rubbing  and  polishing,  but  by  the 
method  of  French-polishing,  a  smooth  and  continuous  surface, 
hard  and  not  easily  scratched,  is  secured. 


14  PRACTICAL    HINTS 

All  the  polishes  are  applied  very  much  in  the  same  way  and  a 
general  description  will  therefore  be  suft'icient.  To  obtain  a  good 
polish  with  lac  varnish  on  wood,  the  quantity  applied  must  be 
very  small,  and  must  be  rubbed  continuously  until  dry.  If  the 
work  be  porous  or  coarse  grained,  it  will  be  necessary  to  give  it 
a  coat  of  thin,  clear  size  previous  to  commencing  with  the  polish; 
when  drv,  the  surface  must  be  smoothed  with  fine  glassor  sand- 
paper. The  size  fills  up  the  pores  and  saves  the  polish,  and  also 
saves  considerable  time  in  the  operation. 

Make  a  wad  of  cotton-batting,  covered  with  several  folds  of  very 
fine,  soft  linen  cloth  ;  put  the  wad  or  cushion  to  the  mouth  of  the 
bottle  containing  the  preparation  (or  polish)  and  shake  it  suf- 
ficiently to  damp  the  cloth;  then  proceed  to  lightly  rub  the  work 
with  circular  motion ;  as  the  rubber  become  drier,  the  pressure 
may  be  increased,  but  care  should  be  taken  not  to  press  too  heavily 
when  the  rubber  contains  much  polish,  as  streakiness  will  result. 
The  circular  motion  should  be  continued  until  the  rubber  becomes 
quite  dry  when  niore  polish  may  be  taken  upon  it  and  the  rubbing 
renewed.  It  should  be  borne  in  mind  that  the  rubber  should 
never  be  raised  directly  from  the  work,  but  should  be  raised  with 
a  sweeping  motion ;  also  that  it  should  never  for  a  moment  remain 
quitt  upon  the  surface ;  and  that  its  motion  should  be  as  even  as 
possible;  neglect  of  these  precautions  will  produce  a  rough  surface 
wherever  the  rubber  remains  quiet  or  is  improperly  removed.  The 
circular  rubbing  must  be  continued  until  the  surface  appears  per- 
fectly smooth  and  the  pores  are  no  longer  visible.  Be  very  par- 
ticular to  keep  the  cloth  covering  of  the  wad  clean  and  soft;  it  is 
desirable  to  use  a  clean  portion  each  time  it  is  dipped  in  the  polish. 
It  is  quite  likely  that  in  about  twelve  hours  after  the  above  opera- 
tion the  surface  of  the  work  will  be  lustreless,  and  the  grain 
plainly  visible;  in  that  case  proceed  over  the  work  again  until  the 
grain  is  thoroughly  filled.  French-polishing  is  a  process  requiring 
particular  care  and  skill,  and  considerable  experience  is  necessary 
to  produce  good  results. 

The  Ingredient-S. — Shellac,  dissolved  in  alcohol  is  the  basis 
of  all  French-polishes,  and  some  finishers  use  thin  shellac  varnish 
witliout   other  admixture,   slightly   moistening    the    rubber  with 


FOR    FURNITURE    MEN.  16 

linseed  oil  to  prevent  stickiness  and  make  it  work  smoothly. 
There  is  a  great  variety  of  admixtures  and  diversity  in  the  pro- 
portion of  ingredients,  but  the  dilTerences  are  not  material.  We 
subjoin  a  number  of  receipts. 

The  Gexuine  French-Pollsh. — To  one  point  of  spirits  of 
wine  add  a  quarter  of  an  ounce  of  gum-copal,  a  quarter  of  an 
ounce  of  gum-Arabic,  and  one  ounce  of  shellac. 

Let  the  gums  be  well  bruised,  and  sifted  through  a  piece  of 
muslin.  Put  the  spirits  and  the  gums  together  in  a  vessel  that 
can  be  closely  corked ;  place  them  near  a  warm  stove,  and  fre- 
quently shake  them.  In  two  or  three  days  they  will  be  dissolved. 
Strain  the  mixture  through  a  piece  of  muslin,  and  keep  it  tight 
corked  for  use. 

French-Polish. — Take  one  ounce  each  of  mastic,  sandarac, 
seedlac,  shellac,  gumlac,  and  gum-Arabic;  reduce  them  to  powder; 
and  add  a  quarter  of  an  ounce  of  virgin  wax ;  put  the  whole  into 
a  bottle,  with  one  quart  of  rectified  spirits  of  wine;  let  it  stand 
twelve  hours,  and  it  will  be  fit  for  use. 

French-Polish. — Put  into  a  glass  bottle  one  ounce  of  gumlac, 
two  drachms  of  mastic  in  drops,  four  drachms  of  sandarac,  three 
ounces  of  shellac,  and  half  an  ounce  of  gum  dragon ;  reduce  the 
whole  to  powder ;  add  it  to  a  piece  of  camphor  the  size  of  a  nut, 
and  pour  on  it  eight  ounces  of  rectified  spirits  of  wine.  Stop  the 
bottle  close,  but  take  care,  when  the  gums  are  dissolving,  that  it  is 
not  more  than  half  full.     Place  near  a  warm  stove  until  dissolved. 

Other  French-Polish  Receipts. — 1  pint  naptha,  d}4  ounces 
orange  shellac,  ^  ounce  elima.     Darkei;  with  red  saunders  wood 

To  one  pint  of  spirits  of  wine,  add  half  an  ounce  of  gum 
shellac,  half  an  ounce  of  seed  lac,  and  a  quarter  of  ounce  of  gum 
sandarac;  submit  the  whole  to  a  gentle  heat,  frequently  shaking 
it,  till  the  various  gums  are  dissolved,  when  it  is  fit  for  use. 

Shellac  6  ounces,    naptha  1  quart,  sandarac  1  ounce,  benzoin 
^  ounce. 
Three  ounces  shellac,  }4  ounce  of  gum  mastic  pulverized,  and 


10  PRACTICAL    HINTS 

one  pint  of  methylated  spirits  of  wine  added.  Let  it  stand  till 
dissolved. 

Twelve  ounces  shellac,  2  ounces  gum  elima,  3  ounces  gum 
copal,  1  gallon  of  spirits  of  wine;  dissolve. 

The  following  must  be  well  mixed  and  dissolved: — Pale  shellac 
2X  pounds,  3  ounces  mastic,  3  ounces  sandarac,  1  gallon  spirits 
of  wine.  After  the  above  is  dissolved,  add  1  pint  copal  varnish,  1 
^  ounces  shellac,  J4  ounce  gum  juniper,  J^  ounce  benzoin,  }4 
pint  of  methylated  alcohol. 

An  Improved  Polish. — To  a  pint  of  spirits  of  wine  add,  in 
fine  powder,  one  ounce  seedlac,  two  drachms  of  gum  guaiacum, 
two  drachms  of  dragon's-blood,  and  two  drachms  of  gum  mastic ; 
expose  them,  in  a  vessel  stopped  close,  to  a  moderate  heat  for 
three  hours,  until  you  find  the  gums  dissolved;  strain  the  whole 
into  a  bottle  for  use,  with  a  quarter  of  a  gill  of  the  best  linseed 
oil,  to  be  shaken  up  well  with  it. 

This  polish  is  more  particularly  intended  for  dark-coloured 
woods — for  it  is  apt  to  give  a  tinge  to  light  ones,  as  satin-wood,  or 
air-wood,  &c., — owing  to  the  admixture  of  the  dragon's-blood, 
which  gives  it  a  red  appearance. 

Water-prook  Polish. — Take  a  pint  of  spirits  of  wine,  two 
ounces  of  gum  benzoin,  a  quarter  of  an  ounce  of  gum  sandarac, 
and  a  quarter  of  an  ounce  of  gum  anime;  these  must  be  put  into 
a  stopped  bottle,  and  placed  either  in  a  sand-bath  or  in  hot  water 
till  dissolved ;  then  strain  the  mixture,  and,  after  adding  about  a 
quarter  of  a  gill  of  the  best  clear  poppy  oil,  shake  it  well  up,  and 
put  it  by  for  use. 

Prepared  Spirits. — This  preparation  is  useful  for  finishing 
aftei  any  of  the  foregoing  receipts,  as  it  adds  to  the  lustre  and 
durability,  as  well  as  removes  every  defect,  of  the  other  polishes; 
and  it  gives  the  surface  a  most  brilliant  appearance. 

Half  a  pint  of  the  very  best  rectified  spirits  of  wine,  two 
drachms  of  shellac,  and  two  drachms  of  gum  benzoin.  Put  these 
ingredients  into  a  bottle,  and  keep  it  in  a  warm  place  till  the  gum 
is  all  dissolved,  shaking  it  frequently;  when   cold,  add  two   tea- 


FOR    FURNITURE    MEN.  17 

spoonfuls   of    the   best   clear   white   poppy  oil;    shake   them    well 
together,  and  it  is  fit  for  use. 

Tiiis  preparation  is  used  in  the  same  maimer  as  the  foregoing 
polishes;  but,  in  order  to  remove  all  dull  places,  you  may  increase 
the  pressure  in  rubbing. 

Polish  for  Turners'  Work. — Dissolve  1  ounce  of  sand- 
arach  in  _^  pint  of  spirits  of  wine;  shave  1  ounce  of  beeswax,  and 
dissolve  it  in  a  sufficient  quantity  of  spirits  of  turpentine  to  make 
it  into  a  paste,  add  the  former  mixture  to  it  by  degrees;  then,  with 
a  woolen  cloth,  apply  it  to  the  work  while  it  is  in  motion  in  the 
lathe,  and  polish  it  with  a  soft  linen  rag;  it  will  appear  as  if  highly 
varnished. 

STAINING. 

Staining  is  the  process  of  imparting  to  the  surface  of  w  ood  a 
color  different  from  its  natural  one.  It  consists  of  two  varieties, 
surface-staining  and  body-staining.  In  the  former,  as  the  name 
implies,  the  staining  is  effected  by  various  compounds  in  the 
nature  of  pigments,  laid  upon  the  surface  like  paint,  and  forming 
a  thin  opaque  coating,  which  does  not,  to  any  considerable  degree 
affect  the  fibre  of  the  wood.  In  the  latter,  the  changes  are  chem- 
ical, the  stain  being  usually  applied  as  a  thin  wash,  which,  entering 
the  pores  of  the  wood,  colors  it  to  some  depth  be!ow  the  surface. 
Staining  requires  no  preliminary  preparation,  the  stain  being 
applied  directly  to  the  wood.  As  most  stains  raise  the  grain  ot^ 
the  wood  to  a  considerable  extent,  it  is  necessary  before  applying 
the  varnish,  to  sand-paper  the  wood  enough  to  render  the  grain 
quite  smooth ;  this  sometimes  renders  a  second  coat  necessary,  after 
which  the  sand-paper  must  be  again  applied. 

Black  Stain. — Boil  y^  lb.  of  chip  logwood  in  2  quarts  of  water, 
add  one  oz.  of  pearl-ash,  and  apply  it  hot  to  the  work  with  a  brush ; 
then  take  y^  lb.  of  logwood,  boil  it  as  before  in  2  quarts  of  water, 
and  add  ^  oz.  of  verdigris  and  >^  oz.  of  copperas;  strain  it  oft", 
put  in  Yz  lb.  of  rusty  steel  filings,  and  with  this  go  over  the  work 
a  second  time. 

A   Good   Black   Stain. — 1.      Gall-nuts   coarsely    broken,    3 


18  PRACTICAL    HINTS 

ounces,  rain-water,  1  quart;  boil  until  reduced  one-half.  2.  White 
vinegar,  pint,  iron  filings,  2  ounces,  antimony  (powdered)  2 
ounces,  vitriol,  1  ounce,  logwood  a  small  handfull.  Infuse  in 
bottle  eight  days,  tying  the  cork  down.  To  stain  a  piece  of  wood, 
give  the  wood  a  coating  of  No.  1,  which  acts  as  a  mordant;  when 
nearly  dr\'  put  on  No.  2;  let  it  dry  quite,  and  then  brush  it  over 
again  with  No.  2. 

Black  Staix. — Boil  the  extract  of  logwood  in  water  and  to  it 
add  slowly  a  little  of  the  yellow  prussiate  of  potash.  Brush  on 
hot. 

Black  Staix. — Boil  1  lb.  logwood  in  4  quarts  of  water;  add  a 
double  handful  of  walnut-peel  or  shells,  boil  it  up  again,  take  out 
the  chips,  add  a  pint  of  the  best  vinegar  and  it  will  be  fit  for  use; 
apply  hot.  This  will  be  improved  by  applying  over  the  first  stain, 
a  solution  of  one  ounce  of  green  copperas  in  a  quart  of  water. 

Brown  Staix. — Boil  1  lb.  of  the  brown  pigment  called  Terre 
de  Cassel  with  4  quarts  of  water,  until  it  is  reduced  one-third. 
Mix  2  ounces  (Troy)  of  white  potash  with  sufficient  water  to  dis- 
solve it,  and  mix  with  the  Terre  de  Cassel.  This  stain  must  be 
applied  with  a  brush,  two  or  even  three  times,  according  to  the 
depth  of  the  shade  required. 

Walnut  Staix. — Mix  together  by  stirring,  1  quart  spirits  of 
turpentine,  1  pint  asphaltum  varnish,  1  pint  of  japan,  1  lb.  dry 
burnt  umber,  1  lb.  dry  Venetian  red;  applv  with  a  brush.  This 
stain  is  transparent,  and  allows  the  grain  of  the  wood  to  show 
through. 

Walxlt  Staix.— Boil  1^  ounces  washing-soda, and  }^  ounce 
bichromate  of  potash,  in  1  quart  of  water ;  add  2_J^  ounces  Van- 
dyke brown.     This  stain  may  be  used  either  hot  or  cold. 

Walxut  Staix. — With  a  brush  apply  a  thin  solution  of 
permanganate  of  potassa  in  water,  until  the  desired  color  is  pro- 
duced, allowing  each  coat  to  dry  before  another  is  applied. 

Oak  Staix. — Add  to  a  quart  of  water,  2  ounces  each  of  potash 
and  pearl-ash.     Tiiis  is  a  very  good  stain,  but  it  should  be  used 


FOR    FURNITURE    MEN.  19 

carefully  as  it  blisters  the  hands  and  softens  brushes.      The  stain 
may  be  made  lighter  by  adding  more  water. 

Oak  Stains. — To  darken  the  color  of  oak  any  of  the  following 
may  be  used : 

Liquid  ammonia  laid  on  evenly  with  a  rag  or  brush  will  deepen 
the  color  immediately,  and  it  will  not  fade,  this  being  an  artificial 
production  of  result  produced  naturally  by  age. 

Bichromate  of  potash,  dissolved  in  cold  water,  and  applied  with 
a  brush  will  produce  a  similar  result. 

A  decoction  of  green  walnut-shells  will  bring  new  oak  to  any 
shade  or  nearly  black. 

Rosewood  Stain. — Mix  in  a  bottle  ^  lb.  of  extract  of  log- 
wood, one  oz.  salts  of  tartar  and  one  pint  of  water;  in  another 
bottle,  put  one  pound  of  old  iron  in  small  pieces  and  one  pint  of 
vinegar,  which  after  standing  twenty-four  hours  will  be  ready  for 
use ;  make  a  hard,  stiff  brush  with  a  piece  of  rattan  sharpened  at 
one  end  in  a  wedge  shape,  pounding  it  so  as  to  separate  the  fibre. 
Mix  in  one  pint  of  varnish,  ^  lb.  of  finely  powdered  rose  pink. 
The  materials  are  now  ready,  and  the  first  thing  in  the  process  is 
to  stain  the  wood  with  the  logwood  stain ;  give  two  coats  of  this, 
allowing  the  first  to  become  nearly  dry  before  applying  the  second; 
then  dip  the  rattan  brush  in  the  vinegar  and  with  it  form  the  grain, 
after  which  give  the  work  a  coat  of  the  varnish  and  rose-pink. 
There  can  be  no  definite  directions  given  for  graining,  except  to 
study  the  natural  wood  and  imitate  it  as  near  as  possible.  With 
the  above  materials  skillfully  applied,  any  common  wood  can  be 
made  to  resemble  rose.vood  so  nearly  that  it  will  take  a  good 
judge  to  distinguish  the  difference. 

Rosewood  Stain. — Boil  one  pound  of  logwood  in  one  gallon 
of  water,  add  a  double  handful  of  walnut-shells,  boil  the  whole 
again,  strain  the  liquor  and  add  to  it  one  pint  of  the  best  vinegar. 
It  is  then  ready  for  use.  Apply  it  boiling  hot,  and  when  the  wood 
is  dry,  form  red  veins  in  imitation  of  the  grain  of  rosewood  with 
a  brush  dipped  in  the  following  solution:  Nitric  acid,  1  pint; 
metallic  tin,  1  ounce;  sal  ammoniac,  1  ounce.  Mix  and  set  aside 
to  dissolve,  occasionally  shaking. 


20  PRACTICAL    HINTS 

Cherry  Stain. — Mix  together,  by  stirring,  one  quart  of  spirits 
of  turpentine,  one  pint  of  varnish,  and  one  pound  of  dry  burnt 
sienna;  apply  with 'a  brush  and  after  it  has  been  on  about  five 
minutes  wipe  it  oft"  with  rags.  This  stain  takes  about  12  hours  to 
dry. 

Red]Stain,  for  common  work. — Archil  will  produce  a  very 
good  stain  of  itself,  when  used  cold,  but  if  after  one  or  two  coats 
have  been  applied  and  suffered  to  get  almost  dry,  it  is  brushed  over 
with  a  hot  solution  of  pearl-ash  in  water,  it  will  improve  the  color. 

Mahogany  Stain. — To  darken  mahogany,  apply  a  weak  solu- 
tion of  bichromate  of  potash  in  water.  Apply  successive  coats 
allowing  each  to  dr}',  until  the  rtquired  shade  is  secured. 

Surface  .St.mn.s. — The  following  are  for  the  most  part  used  to 
apply  to  woods  of  inferior  quality,  to  make  them  resemble  choicer 
woods.  The  colors  are  all  to  be  mixed  with  very  thin  glue  size, 
laid  on  warm  with  a  soft  woolen  material,  and  the  wood  wiped  dry 
after  application.  All  the  colors  used  in  staining  should  be  well 
pulverized,  and  before  use  the  liquid  should  be  strained. 

Iimtation  Oak  Stain. — Equal  parts  burnt  umber  and  brown 
ochre. 

Imitation  Mahogany  Stain. — One  part  Venetian  red  and  two 
parts  yellow  lead. 

Imitation  Rose-Mood  Staiii. — Venetian  red,  darkened  with  lamp- 
black to  required  shade. 

Imitation\Walnut  Stain. — Burnt  umber  and  yellow  ochre,  mixed 
in  proportions  to  give  desired  shade. 

Fine  Cri.mson  Stain. — Boil  one  pound  oi  good  Brazil  dust  in 
three  quarts  of  water  for  an  hour;  strain  it,,  and  add  half  an  ounce 
of  cochineal ;  boil  it  again  gently  tor  half  an  hour,  and  it  will  be 
fit  for  use. 

If  you  will  have  it  more  of  a  scarlet  tint,  boil  half  an  ounce  of 
"•atlVon  in  a  quart  of  water  for  an  hour,  and  pass  over  the  work 
previous  to  the  red  stain. 

Plki'Le  .Stain, — To  a  pound  of  good  chip  logwood,  put  three 


FOR    FURNITURE    MEN.  21 

quarts  of  water;  boil  it  well  for  an  hour;  then  add  four  ounces  oj 
pearlash,  and  two  ounces  of  indigo  pounded. 

Fine  Blue  Stain. — Into  a  pound  of  oil  of  vitriol  (sulphuric 
acid)  in  a  clean  glass  phial,  put  four  ounces  of  indigo,  and  proceed 
as  above  directed  in  dyeing  purple. 

Fine  Green  Stain.  —To  two  pints  of  the  strongest  vinegar, 
add  four  ounces  of  the  best  verdigris  pounded  fine,  half  an  ounce 
of  sap  green,  and  half  an  ounce  of  indigo. 

Distilled  vinegar,  or  verjuice,  improves  the  color. 

Yellow  Stain. — Dissolve  ]^  lb.  turmeric  in  one  pint  alcohol ; 
let  it  stand  until  the  turmeric  settles  to  the  bottom. 

Yellow  Stain. — A  small  piece  of  aloes  added  to  the  varnish 
will  have  all  the  effect  of  a  bright  yellow  stain. 

To  Brighten  Stain.s. — Any  of  the  stains  named  (except  the 
surface  stains)  will  be  rendered  much  more  brilliant  by  an  appli- 
cation of  the  following:  1  ounce  nitric  acid,  %  teaspoonful  muria- 
tic acid,  )^  ounce  grain  tin,  two  ounces  rain  water.  Mix  in  a  bottle, 
at  least  two  davs  before  using,  and  keep  the  bottle  well  corked. 

DYEING  WOOD. 

Dyeing  wood  is  mostly  applied  for  the  purpose  of  veneers, 
while  staining  is  more  generally  had  recourse  to  give  the  desired 
color  to  the  article  after  it  has  been  manufactured.  In  the  one 
case,  the  color  should  penetrate  throughout,  while  in  the  'after  the 
surface  is  all  that  is  essential. 

In  dyeing  pear-tree,  holly,  and  beech,  take  the  best  black;  but 
for  most  colors,  holly  is  preferable.  It  is  also  best  to  have  wood 
as  voung  and  as  newly  cut  as  possible.  After  the  veneers  are  cut, 
they  should  be  allowed  to  lie  in  a  trough  of  water  for  four  or  five 
days  before  they  are  put  into  the  copper;  as  the  water,  acting  as  a 
purgative  to  the  wood,  brings  out  an  abundance  of  slimy  matter, 
which  must  be  removed,  or  the  wood  will  never  be  a  good  color. 
After  this  pvirificatory  process,  they  should  be  dried  in  the  open 
air  for  at  least  twelve  hours.  They  are  then  ready  for  the  copper. 
By  these  simple  means,  the  color  will  strike  much  quicker,  and  be 


22  PRACTICAL  HINTS 

of  a  brighter  hue.  It  would  also  add  to  the  improvement  of 
the  colors,  if,  after  the  veneers  have  boiled  a  few  hours,  the}'  are 
taken  out,  dried  in  the  air,  and  again  immersed  in  the  coloring 
copper.  Always  dry  veneers  in  the  open  air,  for  fire  invariably 
injures  the  colors. 

Fine  Black  Dye. — Put  six  pounds  of  chip  logwood  into  the 
copper,  with  as  many  veneers  as  it  will  conveniently  hold,  without 
pressing  too  tight;  fill  it  with  water,  and  let  it  boil  sloivly  for  about 
three  hours;  then  add  half  a  pound  of  powdered  verdigris,  half  a 
pound  of  copperas,  and  four  ounces  of  bruised  nut-galls;  fill  the 
copper  up  with  vinegar  as  the  water  e\aporates;  let  it  boil  gently 
two  hours  each  day  till  the  wood  is  dyed  through. 

F'lNE  Bl.vck  Dye. — Procure  some  liquor  from  a  tanner's  pit, 
or  make  a  strong  decoction  of  oak-bark,  and  to  every  gallon  of 
the  liquor  add  a  quarter  of  a  pound  of  green  copperas,  and  mix 
them  well  together;  put  the  liquor  into  the  copper,  and  make  it 
quite  hot,  but  not  boil ;  immerse  the  veneers  in  it,  and  let  them 
remain  for  an  hour;  take  them  out,  and  expose  them  to  the  air  till 
it  has  penetrated  its  substance;  then  add  some  logwood  to  the 
solution,  p'.acethe  veneers  again  in  it,  and  let  it  simmer  for  two  or 
three  hours;  let  the  whole  cool  gradually,  dry  the  veneers  in  the 
shade,  and  they  will  be  a  very  fine  black. 

Fine  Blue  Dye. — Into  a  clean  glass  bottle  put  one  pound  of 
oil  of  vitriol,  and  four  ounces  of  the  best  indigo  pounded  in  a 
mortar,  (take  care  to  set  the  bottle  in  a  basin  or  earthen  glazed  pan, 
as  it  will  ferment;)  then  put  the  veneers  into  a  copper  or  stone 
trough ;  fill  it  rather  more  than  one-third  with  water,  and  add  as 
much  of  the  vitriol  and  indigo  (stirring  it  about)  as  will  make  a 
fine  blue,  which  may  be  known  by  trying  it  with  a  piece  of  white 
paper  or  wood.  Let  the  veneers  remain  till  the  dye  has  struck 
through. 

The  color  w  ill  be  much  improved,  if  the  solution  of  indigo  in 
vitriol  be  kept  a  few  weeks  before  using  it.  The  color  will  strike 
better,  if  the  veneers  are  boiled  in  plain  water  till  completely 
soaked  through,  and  then  allowed  for  a  few  hours  to  dry  partially, 
previous  to  being  immersed  in  the  dye. 


FOR    FURNITURE    MEN. 


Fine  Blue  Dye. — Throw  pieces  of  quicklime  into  soft  water; 
stir  it  well;  when  settled,  strain. or  pour  oif  the  clear  part;  then  to 
every  gallon  add  ten  or  twelve  ounces  of  the  best  turnsole;  put  the 
whole  into  the  copper  with  the  veneers,  which  should  be  of  white 
holly,  and  prepared  as  usual  by  boiling  in  water;  let  them  simmer 
gently  till  the  color  has  sufficiently  penetrated,  but  be  careful  not 
to  let  them  boil  in  it,  as  it  would  injure  the  color. 

A  Fine  Yellow  Dye. — Reduce  four  pounds  of  the  root  of 
barberry,  by  sawing,  to  dust,  which  put  in  a  copper  or  brass 
trough ;  add  fovu*  ounces  of  turmeric  and  four  gallons  of  water, 
then  put  in  as  many  white  holly  veneers  as  the. liquor  will  cover; 
boil  them  together  for  three  hours,  often  turning  them ;  when  cool, 
add  two  ounces  of  aquafortis  and  the  dye  will  strike  through 
much  soonei". 

A  Bright  Yellow  Dye. — To  every  gallon  of  water,  necessary 
to  cover  the  veneers,  add  one  pound  of  P'rench  berries;  boil  the 
veneers  till  the  color  has  penetrated  through;  add  to  the  infu- 
sion of  the  French  berries,  the  liquid  for  brightening  colors  given 
on  page  24,  and  let  the  veneers  remain  for  two  or  three  hours, 
and  the  color  will  be  very  bright. 

Bright  Green  Dye. — Proceed  as  in  either  of  the  previous 
receipts  to  produce  a  yellow  ;  but  instead  of  adding  aquafortis  or 
the  brightening  liquid,  add  as  much  vitriolated  indigo  (see  page  22) 
as  will  produce  the  desired  color. 

Green  Dye. — Dissolve  four  ounces  of  the  best  verdigris,  and  of 
sap-green  and  indigo  half  an  ounce  each,  in  three  pints  of  the 
best  vinegar;  put  in  the  veneers,  and  gently  l^oil  till  the  color  has 
penetrated  sufficiently. 

The  hue  of  the  green  may  be  varied  by  altering  the  proportion 
of  the  ingredients;  and  it  is  advised,  unless  wanted  for  a  particular 
purpose,  to  leave  out  the  sap-green,  as  it  is  a  vegetable  color  very 
apt  to  change,  or  turn  brown,  when  exposed  to  the  air. 

Bright  Red  Dye. — To  two  pounds  of  genuine  Brazil  dust, 
add  four  gallons  of  water;  put  in  as  many  veneers  as  the  liquor 
will  cover;  boil  them  for  three  hours;  then  add  twooimces  of  alum. 


24  PRACTICAL    HINTS 

and  two  ounces  of  aquafortis,  and  keep  it  lukewarm   luitil   it  has 
struck  through. 

Red  Dve. — To  every  pound  of  logwood  chips,  add  two  gallons 
of  water;  put  in  the  veneers,  and  boil  as  in  the  last;  then  add  a 
sufficient  quantity  of  the  brightening  liquid  (see  page  24)  til!  you 
see  the  color  to  your  mind;  keep  the  whole  as  warm  as  the  finger 
can  be  borne  in  it,  till  the  color  has  sufficiently  penetrated. 

The  logwood  chips  should  be  picked  from  all  foreign  substances, 
with  which  it  generally  abounds,  as  bark,  dirt,  etc. ;  and  it  is  always 
best  when  fresh  cut,  which  may  be  known  by  its  appearing  of  a 
bright  red  color;  for  if  stale,  it  will  look  brown,  and  not  yield  so 
much  coloring  matter. 

Purple  Dye. — To  two  pounds  of  chip  logwood  and  half  a 
pound  of  Brazil  dust,  add  four  gallons  of  water,  and  after  putting 
in  the  veneers,  boil  them  for  at  least  three  hours ;  then  add  six 
ounces  of  pearlash  and  two  ounces  of  alum ;  let  them  boil  for  two 
or  three  hours  every  day,  till  the  color  has  struck  through. 

The  Brazil  dust  only  contributes  to  make  the  purple  of  a  more 
red  cast;  you  may,  therefore,  omit  it,  if  you  require  a  deep  bluish 
purple. 

Purple  Dye. — Boil  two  pounds  of  logwood,  either  in  chips  or 
powder,  in  four  gallons  of  water,  with  the  veneers;  after  boiling 
till  the  color  is  well  struck  in,  add  by  degrees  vitriolated  indigo, 
(see  page  22,)till  the  pvu-ple  is  of  the  shade  required,  which  may  be 
known  by  trying  it  with  a  piece  of  paper;  let  it  then  boil  for  one 
hour,  and  keep  the  liquid  in  a  milk-warm  state  till  the  color  has 
penetrated  the  veneer.  This  method,  when  properly  managed, 
will  produce  a  brilliant  purple,  not  so  likely  to  fade  as  the  fore- 
going. 

Liquid  for  Brightening  and  Setting  Colors — To  every 
pint  of  strong  aquafortis,  add  one  ounce  of  grain  tin,  and  a  piece 
of  sal-ammoniac  of  the  size  of  a  walnut;  set  it  by  to  dissolve, 
shake  the  bottle  round  with  the  cork  out,  from  time  to  time;  in 
the  course  of  two  or  three  days  it  will  be  lit  for  use.  This  will  be 
found   an  admirable   liquid   to  add  to  any   color,  as   it    not   only 


FOR    FURNITURE    MEN.  25 

brightens  it,  but  renders  it  less  likely  to  fade  from  exposure  to  the 
air. 

Orange  Dye. — Let  the  veneers  be  dyed,  by  either  of  tlie 
methods  given  in  page  23,  of  a  fine  deep  yellow,  and  while  they 
are  still  wet  and  saturated  with  the  dye,  transfer  them  to  the  bright 
red  dye  as  in  page  23,  till  the  color  penetrates  equally  throughout. 

Silver  Gray  Dye. — Expose  to  the  weather  in  a  cast-iron  pot 
of  six  or  eight  gallons,  old  iron  nails,  hoops,  etc.,  till  covered  with 
rust;  add  one  gallon  of  vinegar,  and  two  of  water,  boil  all  weil  for 
an  hour;  have  the  veneers  ready, which  must  be  air-wood,(not  too 
dry,)  put  them  in  the  copper  used  to  dye  black,  and  pour  the  iron 
liquor  over  them;  add  one  pound  of  chip  logwood,  and  two  ounces 
of  bruised  nut-galls;  then  boil  up  another  pot  of  the  iron  liquor  to 
supply  the  copper  with,  keeping  the  veneers  covered,  and  boiling 
two  hours  a  day,  till  of  the  required  color. 

Gray  Dye. — Expose  any  quantity  of  old  iron,  or  what  is  better, 
the  borings  of  gun-barrels,  etc.,  in  any  convenient  vessel,  and 
from  time  to  to  time  sprinkle  them  with  spirits  of  salt,  (muriatic 
acid,)  diluted  in  four  times  its  quantity  of  water,  till  they  are  very 
thickly  covered  with  rust;  then  to  every  six  pounds  add  a  gallon 
of  water,  in  which  has  been  dissolved  two  ounces  of  salt  of  tartar; 
lay  the  veneers  in  the  copper,  and  cover  them  with  this  liquid  : 
let  it  boil  for  two  or  three  hours  till  well  soaked,  then  to  every 
gallon  of  liquor  add  a  quarter  of  a  pound  of  green  copperas,  and 
keep  the  whole  at  a  moderate  temperature  till  the  dye  has  suffici- 
ently penetrated. 

GILDING,  SILVERING  AND  BRONZING. 
Gilding,  Silvering  and  Bronzing  are  processes  of  apply- 
ing to  previously  prepared  surfaces  a  thin  layer  of  gold  or  silver 
leaf,  or  in  bronzing,  of  a  fine  powder,  prepared  from  various  metals 
and  intended  to  imitate  the  peculiar  appearance  of  genuine  bronze. 
The  processes  of  gilding  and  silvering  being  identical,  the  descrip- 
tion of  one  will  suffice  to  explain  the  other. 

Gilding. — Gold  leaf,  applied  to  articles  of  furniture  as  a 
means  of  decoration,  is  used  in  two  ways ;  it  is  applied  over  an 


26  PRACTICAL    HINTS 

ordinary  varnish  or  other  finish,  in  which  case  but  Hllle  special 
preparation  is  necessary;  or,  as  when  ined  for  picture  frames,  cor- 
nices, etc.,  it  is  applied  to  a  specially  prepared  foundation,  the  basis 
of  which  is  whiting,  mixed  with  various  other  ingredients  sug- 
gested by  experience  or  fancy.  In  either  case,  the  gold  leaf  is 
caused  to  adhere  to  the  work,  by  size  specially  prepared  for  the 
purpose,  receipts  for  which  are  given  below ;  the  size  being  first 
applied  to  the  work,  and  when  it  has  become  of  the  right  consis- 
tency, the  gold  is  laid  upon  it.  Oil  -  Gilding  and  Burnish- 
Gilding  are  different  methods  used  to  obtain  certain  desired 
effects,  the  former  principally  for  articles  exposed  to  the  weather, 
and  for  heightening  the  effect  of   incised  carving  or  engraving, 

SO  O  O  O' 

and  the  latter  for  picture-frames  and  articles  having  a  specially- 
prepared  foundation,  whose  entire  surface  is  to  be  gilded.  It  is 
intended  that  the  gold  shall  adhere  to  the  work  only  in  the  places 
to  which  the  size  has  been  applied,  but  the  smallest  portion  of  oil 
or  even  a  slight  dampness  may  cause  the  gold  to  partially  adhere 
to  the  adjoining  surface,  resulting  in  slightly-ragged  edges ;  to 
prerent  this,  before  applying  the  size  to  the  desired  design,  the 
entire  surface  is  covered  with  a  thin  film  of  some  substance  per- 
fectly free  from  moisture,  and  easily  removable  by  water,  after 
completion  of  the  process.  Directions  regarding  this  preliminary 
process  are  given  under  the  caption:  To  Prevent  Gold 
Adhering. 

The  Requisites. — First,  a  sufficient  quantity  of  leaf-gold, 
which  is  of  two  sorts — the  deep  gold,  as  it  is  called,  and  the  pale 
gold.  The  former  is  the  best;  the  latter  very  useful,  and  may 
occasionally  be  introduced  for  variety  or  effect. 

Second,  a  gilder's  cushion :  an  oblong  piece  of  wood,  covered 
with  rough  calf-skin,  stuffed  with  flannel  several  times  doubled, 
with  a  border  of  parchment,  about  four  inches  deep,  at  one  end,  to 
prevent  the  air  blowing  the  leaves  about  when  placed  on  the 
cushion. 

Thirdly,  a  gilding-knife,  with  a  straight  and  vi^iy  smooth 
edge,  to  cut  the  gold. 

Fourthly,  several  camel-hair  pencils  in  sizes,  and  tips,  made  of 
a  few  long  camel's  hairs  put  between  two  cards,  in  the  same  man- 


FOR    FURNITURE    MEN.  27 

ner  as  hairs  are  put  into  tin  cases  for  brushes,  thus  making  a  flat 
brush  with  a  very  few  hairs. 

Lastly,  a  burnisher,  which  is  a  crooked  piece  of  agate  set  in  a 
long  wooden  handle. 

Sizes. — These  are  of  two  kinds :  oil  sizes  are  those  which 
when  applied,  present  an  adhesive  surface,  requiring  the  immedi- 
ate laying  of  the  gold-leaf  upon  it;  of  this  class  is  the  oil-size 
commonly  used  in  decorating  furniture :  water  sizes  are  those  that 
are  allowed  to  become  dry  and  hard  when  applied,  and  are  rendered 
adhesive  when  the  gold  is  to  be  laid,  by  brushing  over  with  water ; 
for  burnish-gilding  these  are  always  employed,  as  oil-size  does  not 
dry  sufficiently  hard  to  permit  of  burnishing. 

Oil-Size  for  Oil-Gilding.~  Grind  calcined  red-ochre  with 
the  best  and  oldest  drying-oil.  When  desired  for  use,  add  suffi- 
cient oil  of  turpentine  to  make  it  work  freely. 

Parchment-Size — For  preparing  Frames,  etc.  —  To  half  a 
pound  of  parchment  shavings,  or  cuttings  of  white  leather,  add 
three  quarts  of  water,  and  boil  it  in  a  proper  vessel  till  reduced  to 
nearly  half  the  quantity ;  then  take  it  off  the  fire,  and  strain  it 
through  a  sieve.  Be  careful,  in  the  boiling,  to  keep  it  well  stirred, 
and  do  not  let  burn. 

Gold-Size  for  Burnish-Gilding. — Grind  fine  sal-ammoniac 
well  with  a  muller  and  stone;  scrape  into  it  a  little  beef-suet,  and 
grind  all  well  togetlier;  after  which,  mi.K  in  with  a  pallet-knife  a 
small  proportion  of  parchment-size  with  a  double  proportion  of 
water.  When  about  to  use,  add  parclinient-size  until  it  will  just 
flow  from  the  brush. 

Gold-Size  for  Burnish-Gilding. — Grind  a  lump  of  tobacco- 
pipeclay  into  a  very  stiff  paste  with  thin  size;  add  a  small  quantity 
of  ruddle  and  fine  black  lead,  ground  very  fine,  and  temper  the 
whole  with  a  small  piece  of  tallow.  When  ready  to  use,  reduce 
with  parchment-size  until  it  will  just  flow  from,  the  brush. 

Gold-Size  for  Burnish-Gilding.  —  Grind  separately  in 
water,  1  lb.  Armenian  bole,  2  ounces  red  lead,  a  sufficient  quantity 
of  black  lead;  mix,  and  re-grind  with  a  small  quantity  of  olive  oil. 
Reduce  with  parchment-size  to  the  proper  consistency. 


28  PRACTICAL    HINTS 

To  Prevent  Gold  Adhering. — Either  one  of  the  following 
methods  will  prevent  gold-leaf  or  bronze  from  adhering  to  the 
surface  beyond  the  outlines  of  the  sizing  laid  on  to  receive  it: 

1.  Whiting  used  dry,  and  applied  by  means  of  a  pounce  bag. 

2.  Whiting  mixed  in  water,  and  applied  with  a  soft  brush. 
When  the  water  has  evaporated,  dust  ofl'  the  superfluous  whiting 
with  an  ordinary  paint  duster.  By  this  method  a  very  thin  coat- 
ing of  whiting  remains,  which  is  free  from  any  grittiness.  One 
advantage  gained  by  the  use  of  whiting  thus  applied  is,  it  furnishes 
a  whitish  ground  over  which  clear  varnish  or  oil  size  may  be 
distinctly  seen  as  the  striping  progresses.  After  the  leaf  or  bronze 
has  been  applied,  the  work,  must  be  carefully  washed,  so  as  to 
insure  the  removal  of  the  whiting. 

3.  White  of  egg  reduced  with  water,  and  applied  with  a  piece 
of  sponge. 

4.  A  thin  wash  of  starch  water,  either  brushed  on  with  a  flat 
camel-hair  brush,  or  applied  with  a  soft  sponge. 

5.  Take  ball  liquorice  and  water,  a  weak  solution,  and  apply 
with  a  hoft  brush.  This  may  be  kept  in  a  bottle  ready  for  use  at 
any  time. 

6.  Cut  a  new  potato  in  two,  and  rub  over  the  part  to  be  sized 
with  thj  raw  face  exposed,  allowing  the  juice  to  remain  until  dry. 

It  will  be  observed  that  any  substance  which  interposes  a  film 
over  the  varnish,  itself  being  free  from  tackiness  and  readily 
remoxed  by  water,  will  answer  the  purpose. 

Oil  Gilding. — Applying  the  Gold — If  the  wood  to  be  gilded  is 
fini-^hed  with  varnish  or  otherwise,  no  additional  foundation  is 
necessary  upon  which  to  lay  the  gold-leaf;  if  the  wood  is  not 
finished,  after  it  has  been  smoothed  and  dusted,  give  it  one  or  two 
coats  of  parchment  size,  after  it  is  perfectly  dry  and  hard  again 
smoothing  the  surface  with  fine  sand-paper.  That  the  gold  may 
not  adhere  to  any  part  ot  the  work  except  where  the  size  is  hard, 
powder  the  surface  lightly  with  whiting  from  a  pounce-bag, 
which  is  a  small  bag  made  of  material  sulUciently  loose  to  permit 
the  powdered  whiting  to  sift  through  as  fine  dust;  if  preferred, 
any  of  the  preceding  rec<.'ipts  for  that  purpose  can  be  used 
instead.     Remove  the  surplus   whiting  with   the   dusting-brush. 


FOR    FURNITURE    MEN.  29 

and  the  work  is  then  ready  for  the  size.  Apply  this  with  a  sable 
or  fit  brush  of  the  proper  size,  carefully  observing  not  to 
make  the  outer  lines  of  the  design  clear  and  sharp,  that  the  work 
may  not  appear  ragged.  Let  the  size  remain  until  it  feels  tackj-, 
when  the  gold  may  be  applied.  This  is  the  most  difficult  part  of 
the  operation,  and  experience  is  necessary  before  gold-leaf  can  be 
laid  smoothly,  without  a  wrinkle  or  a  break.  Turn  a  leaf  of  gold 
out  of  the  book  upon  the  cushion  ;  breathe  gently  upon  the  center 
of  the  leaf  and  it  will  lay  flat  on  the  cushion ;  cut  it  to  proper  size 
by  bringing  the  knife  perpendicularly  over  it,  and  sawing  it  gently 
until  divided.  Take  your  tip  (a  brush  used  for  the  purpose)  and 
after  drawing  it  lightly  over  your  hair  to  remove  any  particles  or 
dust  that  may  be  upon  it,  breathe  upon  it  gently  which  w-ill  dam- 
pen it  sufficienth'  to  cause  the  leaf  of  gold  to  adhere  to  it;  lay  the 
tip  upon  the  leaf  of  gold  and  carefully  transfer  it  to  the  work ; 
blow  upon  it  gently  and  it  will  straighten  out  and  adhere.  It 
may  be  rendered  quite  smooth  by  slightly  dabbing  it  with  a  bit  of 
cotton.  In  about  an  hour  wash  oft' the  superfluous  gold  trom  the 
edges,  with  a  sponge  and  water.  If  the  article  is  to  be  exposed  to 
the  weather  or  much  wear,  the  gilding  may  be  varnished  with 
copal  varnish. 

Burnish-Gilding. — As  previously  stated,  this  process  requires 
a  specially  prepared  foundation  upon  which  to  lay  the  gold,  and  as 
the  preparation  of  this  foundation  is  a  distinct  trade,  the  furnitin-e 
dealer  or  cabinet-maker  seldom  finds  it  necessaiy  to  undertake  it, 
the  articles  coming  to  his  hand  ready-prepared  for  gilding;  but  as 
in  repairing  picture-frames,  cornices,  mirror  frames,  etc.,  it  fre- 
quently becomes  necessary  to  renew  the  foundation,  a  compre- 
hensive description  of  the  whole  process  is  given. 

Preparing  the  Wood-\vork. — After  smoothing  and  dusting 
the  work,  coat  the  frames  in  evevy  part  with  boiling-hot  parch- 
ment size,  described  on  page  27;  then  mix  a  sufficient  quantity  of 
whiting  with  size  to  the  consistency  of  thick  cream,  and  with  it 
by  means  of  a  brush,  coat  every  part  of  the  frame  several 
times,  permitting  each  coat  to  become  perfectly  dry  before  pro- 
ceeding with  the  next.     The  wood  will   thus  be  covered  with  a 


30  PRACTICAL    HINTS 

layer  of  hard  whiting  nearly  or  quite  a  sixteenth  of  an  inch  in 
thickness.  The  size  must  not  be  too  thick  and  when  mixed  with 
the  whiting  should  not  be  so  hot  as  the  preliminary  coat  of  size. 

PoLisiiixG. — When  the  prepared  frames  are  quite  dry,  clean 
and  polish  them.  To  do  this,  wet  a  small  piece  at  a  time,  and, 
with  a  smooth,  fine  piece  of  cloth,  dipped  in  water,  rub  the  part 
till  all  the  bumps  and  inequalities  are  removed;  and  for  those 
parts  where  the  fingers  will  not  enter,  as  the  mouldings,  &c., 
wind  the  wet  cloth  round  a  piece  of  wood,  and  bv  this  means 
make  the  surface  all  smooth  and  even  alike. 

Where  there  is  carved  work,  &c.,  it  will  sometimes  be  necessary 
to  bring  the  mouldings  to  their  original  sharpness  by  means  of 
chisels,  gouges.  Sec,  as  the  preparation  will  be  apt  to  fill  up  all 
the  finer  parts  of  the  work,  which  must  be  thus  restored.  It  is 
sometimes  the  practice,  after  polishing,  to  go  over  the  work  once 
with  fine  vellow  or  Roman  ochre;  but  this  is  rarely  necessary. 

Appyixg  the  Size. — Select  the  proper  gold  size  from  the 
receipts  previously  given ;  add  parchment  size  until  it  will  just 
flow  from  the  brush;  make  it  quite  hot  and  apply  it  to  the  work 
with  a  very  soft  brush,  taking  care  not  to  make  the  first  coat  too 
thick ;  let  it  dry  and  give  two  or  three  successive  coats,  after  the 
last  brushing  it  with  a  stiff  brush  to  remove  any  inequalities.  The 
work  is  then  ready  for  the  gold. 

Laying  the  Gold. — The  manipulation  of  the  gold-leaf  has 
been  described  under  the  heading  Oil-Gildixg.  In  the  process 
now  being  described,  the  size  used  (being  water-size,  which  as 
previously  explained  is  permitted  to  become  hard  and  dry  after 
being  applied)  must  be  moistened  to  cause  the  gold-leaf  to  adhere 
to  it.  For  this  purpose,  with  a  long-haired  camel's-hair  pencil, 
dipped  in  water,  go  over  as  much  of  the  work  as  you  intend  the 
piece  of  gold  to  cover;  then  lay  the  gold  upon  it  in  the  manner 
previously  explained.  Be  sure  that  the  part  to  which  the  gold  is 
ajiplied  is  sufficiently  wet ;  indeed  it  must  be  floating  or  the  gold  will 
be  apt  to  crack.  Proceed  in  this  manner  a  little  at  a  time,  and  do 
not  attempt  to  cover  too  much  at  once,  until  by  experience  you 
are  able  to  handle  the  gold  with  freedom.    In  proceeding  with  the 


FOR    FURNITURE    MEN.  31 

work,  if  any   flows  or  cracks  appear,   immediately   apply  a  por 
tion    of  gold    sufficient  to  cover   them.      Sometimes   when    the 
gold  does  not  appear  to  adhere  sufficiently  tight,  it  will  be  neces- 
sary to  draw  a  pencil  quite  filled  with  water  close  to  the  edge  of 
the  gold,  that  the  water  may  run  underneath  it  and  soften  the  size. 

Burnishing. — When  the  work  is  covered  with  gold,  set  it  by 
to  dry:  there  is  a  particular  state  or  degree  of  dryness,  known 
only  b}'  experience  in  which  the  moulding  is  in  a  fit  state  for 
burnishing;  it  will  probably  be  ready  to  burnish  in  about  eight  or 
ten  hours,  but  it  will  depend  on  the  warmth  of  the  room  or  state 
of  the  air. 

When  it  is  ready,  those  parts  intended  to  be  burnished  must  be 
dusted  with  a  soft  brush;  then  wiping  the  burnisher  with  a  piece 
of  soft  wash-lether  (quite  dry)  begin  to  burnish  about  an  inch  or 
two  in  length  at  a  time,  taking  care  not  to  bear  too  hard,  but  with 
a  gentle  and  quick  motion,  applying  the  tool  until  all  parts  of  the 
surface  are  equally  bright. 

Matting  or  Dead  Gold. — Certain  portions  only  of  the  work 
are  burnished,  according  to  the  fancy,  and  the  facility  with  which 
the  burnishing-tool  can  be  applied;  the  remaining  parts  are  now 
to  be  deprived  of  their  metallic  luster,  to  make  a  more  efl:ective 
contrast  with  the  burnishing.  The  parts  thus  treated  are  said  to 
be  matted  or  dead-gold.     The  process  is  as  follows : 

Grind  some  vermilion  or  yellow  ochre  very  fine,  and  mix  a  very 
small  portion  either  with  the  parchment  size  or  with  the  white  of 
an  egg,  and  with  a  very  soft  brush  lay  it  evenly  on  the  parts  to  be 
dulled;  if  well  done,  it  will  add  greatly  to  the  beauty  of  the  work. 
Previous  to  matting,  the  woi'k  must  be  well  cleared  of  super- 
fluous gold,  by  means  of  a  soft  brush. 

Finishing. — In  elaborate  works  it  is  frequently  impossible  to 
lay  gold-leaf  into  all  the  intricacies  of  an  elaborate  design,  and 
the  parts  thus  left  bare  must  be  finished  by  touching-up  with  a 
small  brush  charged  with  sheil-gold,  or  gold-powder,  mixed  with 
gum-Arabic  to  the  proper  consistency'.  The  following  receipt 
describes  the  preparation  of  shell-gold  : 

Shell-Gold. — Take    any   quantity   of  leaf-gold   and   grind    it 


S'2  PRACTiCAL    HINTS 

with  a  small  portion  of  honey,  to  a  fine  powder ;  add  a  little  gum- 
Arabic  and  sugar-candv,  with  a  little  water,  and  mix  it  well 
toget'ier ;  let  it  dry. 

Silver  Size. — Grinci  pipe-clay  fine  with  a  little  black-lead  and 
good  soap,  and  add  parchment-size  as  directed  for  gold- size. 

Composition  for  Frame  Ornaments. — The  ornaments  for 
gilded  mirror-frames,  etc.,  are  usually  moulded  from  some  plastic 
substance  that  is  somewhat  tougher  and  more  durable  than  the 
ordinary  gilding  foundation  of  whiting  and  size.  ''The  proper 
moulds  being  prepared  they  are  thoroughly  rubbed  upon  the 
inside  with  sweet  oil,  and  the  composition  firmly  pressed  in;  after 
remoTing  the  mould  the  cast  may  be  dried  by  a  gentle  heat,  or  while 
still  plastic  it  can  be  applied  in  its  proper  place  and  bent  into  any 
position.     Following  are  receipts  for  composition  : 

Dissolve  one  pound  of  glue  in  one  gallon  of  water.  In  another 
kettle  boil  together  2  lbs.  of  resin,  1  gill  of  Venice  turpentine,  and 
1  pint  of  linseed  oil ;  mix  altogether  in  one  kettle,  and  boil  and 
stir  till  the  water  has  evaporated.  Turn  the  whole  into  a  tub  of 
finely  rolled  whiting,  and  work  it  till  it  is  of  the  consistency  of 
dough. 

Boil  7  lbs.  of  best  glue  in  7  halt'-pints  of  water.  Melt  3  lbs.  of 
w  hite  resin  in  3  pints  of  raw  linseed  oil.  When  the  above  has 
been  well  boiled  put  them  into  a  large  vessel  and  simmer  them 
for  halt'-an-hour,  stirring  the  mixture  and  taking  care  that  it  does 
not  boil  over.  The  whole  must  then  be  turned  into  a  box  of 
whiting  rolled  and  sifted,  and  mixed  till  it  is  of  the  consistency 
of  dough. 

To  Manipulate  Gold  Leaf. — Get  a  piece  of  paper,  thin 
enough  to  show  shadow-  of  gold-leaf  through,  slightly  wax  it,  lay 
it  f)n  gold-leaf,  the  latter  will  then  adhere,  and  can  be  easily  worked, 
and  will  come  off"  clean.  The  paper  should  be  slightly  larger 
than  the  gold-leaf,  and  the  fingers  passed  over  the  pap.r  to  make 
the  ^old-leaf  adhere. 

Bronzing. — This  is  a  process  for  imitating  on  metal,  plaster, 
wood   or  other   material,  the  peculiar   appearance   produced  by 


FOR    FURNITURE    MEN. 


chemical  action  upon  the  surface  of  bronze  metal.  It  is  accom- 
plished by  spreading  over  the  surface  of  the  material  to  be  orna- 
mented a  very  thin  coating  of  bronze-powder,  which  is  caused  to 
adhere  either  bj  applying  it  directly  upon  a  coating  of  any  of  the 
sizes  mentioned  in  the  foregoing  pages,  or  by  mixing  with  a 
vehicle,  such  as  gum- Arabic  or  transparent  varnish.  The  latter 
is  most  desirable,  as  in  the  other  case,  being  subject  to  the  direct 
action  of  the  atmosphere,  the  bronze-powder  soon  tarnishes.  In 
ornamenting  furniture,  bronzing  is  generally  employed  to  repre- 
sent gilding,  a  variety  of  bronze  called  gold-bronze  being  used, 
which  aflbrds  an  excellent  imitation  but  is  not  very  lasting.  It  is 
usually  applied  after  the  completion  of  the  other  finishing  pro- 
cesses, the  ground-work  being  prepared  in  the  manner  described 
under  Oil-Gilding,  and  the  size  likewise  applied  as  there  des- 
cribed. A  small  wad  of  cotton-batting  is  then  dipped  in  the 
bronze  and  passed  gently  over  the  sized  portions,  causing  the 
bronze  to  adhere.  In  the  other  method — that  of  applying  the 
bronze  by  means  of  a  vehicle- -the  preliminaries  of  whiting  the 
ground  and  sizing  are  not  necessary,  a  small  quantity  of  bronze 
being  simply  mixed  with  the  vehicle  employed  to  such  a  degree 
of  fluidity  that  it  will  flow  easily,  and  in  that  condition  applied 
with  a  fine  brush.  Many  preparations  are  used  as  vehicles,  such 
as  transparent  varnish  thinned  with  turpentine,  gum-Arabic  dis- 
solved in  warer,  and  gold-size  reduced  with  parchment-size.  There 
are  a  variety  of  colors  in  bronze-powders,  and  to  produce  the  best 
effect  the  size  or  vehicle  should  be  of  a  color  similar  to  that  of  the 
bronze  used ;  in  gold-size  the  coloring  pigment  is  ochre,  and  in  its 
place,  for  green-bronze,  red-bronze,  or  blue-bronze,  may  be  em- 
ployed respectively  verditer,  vermillion  or  Prussian  blue,  a  very 
small  quantity  being  sufficient.  In  bronzing  on  painted  work  the 
ground  should  be  as  nearly  as  possible  the  color  of  the  bronze  to 
be  applied. 

GRAINING  AND  COLOR  WORK. 

Graining. — This  is  a  variety  of  painting  by  which  the  grain, 
color  or  texture  of  different  woods  is  imitated.  Considerable 
experience  is  necessary  to  produce  satisfactory  results,  the  mixing 

3 


34  PRACTICAL    HINTS 

of  the  colors  to  the  right  shade,  and  the  manipulation  of  the  simple 
tools  in  a  manner  to  faithfully  imitate  the  grain  and  markings  of 
the  wood,  requiring  a  high  degree  of  skill.  Of  course  these 
remarks  do  not  apply  to  that  variety  of  graining  in  which  only  a 
variegated  surface  is  aimed  at,  and  no  pretentions  made  to  a  close 
imitation  ol  any  wood:  that  simple  process  requires  neither  skill 
nor  judgment. 

The  peculiar  effect  of  graining  is  produced  bv  the  use  of  several 
shades  of  paint, the  lightest  being  first  applied;  the  design  being 
drawn  bv  wiping  off  a  certain  portion  of  the  second  and  third  or 
darker  coats,  while  still  in  a  moist  condition,  the  intermediate  and 
light  shades  below  arc  partially  uncovered,  the  contrast  of  the 
different  shades  resembling  the  effect  of  the  more  prominent  mark- 
in""s  of  the  grain  of  wood.  This  resemblance  is  heightened  by 
processes  called  "stippling"  and  "blending"  which,  as  indicated 
bv  their  titles,  blend  the  shades  and  soften  the  lines. 

The  tools  required  are  a  stippling-brush,  which  is  a  brush  with 
hairs  about  six  or  eight  inches  long ;  a  kalsominer's  brush  will 
answer  the  purpose;  a  blending-brush,  which  is  made  from  camel's 
or  badger's-hair  and  is  verj'  soft ;  two  or  three  steel  combs  of  differ- 
ent sizes;  a  rubber  like  a  pencil-rubber,  about  the  size  of  the 
thumb  and  rounded  off  at  the  ends,  to  convenient  size. 

The  Proces-s  of  Graining. — If  there  are  any  knots  or  sappy 
places  in  the  article,  they  should  be  covered  with  one  or  two  coats 
of  glue-size  or  parchment-size  to  prevent  them  showing  through. 
The  work  is  then  ready  for  the  paint,  three  different  shades  being 
necessary.  These  are  called  the  ground  color;  the  stippling  color; 
and  the  graining  or  oil  color,  and  they  are  laid  in  the  order  named. 
An  infinite  number  of  combinations  of  colors  are  possible, 
obtained  by  the  use  of  various  coloring  pigments  in  the  difterent 
coats,  and  no  two  grainers  agree  as  to  the  precise  proportion  ot 
the  ingredients  to  be  used  in  imitating  difterent  woods;  we  give  a 
number  of  receipts  for  graining  grounds,  and  also  for  mixing  var- 
ious colors;  the  learner  can  vary  the  proportions  to  suit  his  taste 
as  experience  dictates,  and  to  suit  the  work  in  hand.  The  ground 
color  is  used  to  represent  the  lightest  part  of  the  grain  of  the 
wood,  the  stippling  color  the  intermediate  shades,  and  the  graining 


FOR    FURNITURE    MEX.  35 

color  the  darkest  parts;  a  close  study  of  natural  woods  will  there- 
fore be  necessary  to  determine  the  color  and  depth  of  each. 

The  proper  ground  being  selected  (see  Graining  Grounds) 
apply  one  or  more  coats  —  as  many  as  are  necessary  to 
thoroughly  cover  the  surface.  As  soon  as  the  ground  color  is 
hard  the  stippling  coat  may  be  applied.  This  is  prepared  by  mix- 
ing the  dry  pigments  without  oil,  with  either  very  thin  gum- 
water,  stale  beer,  or  vinegar  containing  a  small  portion  of  dissolved 
fish-glue.  The  pigments  to  be  used,  as  stated  above  are  usualh- 
about  the  same  as  those  used  for  the  ground  color,  but  of  different 
proportions  to  produce  a  deeper  shade.  Apply  the  stippling  color, 
and  before  it  dries,  beat  it  softly  with  the  side  of  the  stippler,  the 
long  elastic  hairs  of  which,  disturbing  the  surface  of  the  laid  coat , 
cause  the  lighter  coat  beneath  to  become  indistinctly  visible,  and 
produce  the  effect  of  the  pores  of  wood.  Next  apply  the  grain- 
ing color;  as  soon  as  it  is  laid,  take  the  rubber  and  with  it  wipe 
outth"?  larger  veins  to  be  shown,  after  each  stroke  wiping  the  paint 
from  the  rubber  with  a  cloth  held  in  the  other  hand  for  that  pur- 
pose. Some  grainers  use  a  small  sponge  for  veining,  and  others  a 
small  piece  of  cloth  over  the  thumb,  but  the  rubber  is  probably 
tlie  most  convenient.  When  the  veins  have  been  put  in,  to  imitate 
as  closely  as  possible  the  markings  of  natural  w-ood,  the  \arious 
steel  combs  are  brought  into  use,  and  the  edges  of  the  veins,  and 
sometime  other  portions  of  the  work,  combed  with  them,  to  soften 
the  abrupt  transition  from  the  dark  to  the  lighter  shades.  The 
blender  is  also  now  brought  into  use,  and  wherever  the  work  may 
require  it,  the  colors  are  still  more  softened  and  blended  by  its  soft 
hairs.  When  too  much  color  has  been  removed  in  veining,  or 
when  a  certain  figure,  such  as  a  knot,  is  required,  the  work  is 
touched  up  with  a  fine  brush,  and  again  softened  with  the  blender. 
When  dry  a  coat  of  transparent  varnish  should  be  applied,  having 
considerable  oil  to  render  it  durable,  as  grained  work  is  frequently 
washed. 

Ready-made  graining  colors  are  recommended  as  best  and 
cheapest 

Graining  Grounds. — Subjoined  are  a  few  recipes  for  mixing 
ground  colors. 


36  PRACTICAL    HINTS 

Light  Wainscot  Oak. — White  lead  and  yellow  ochre,  mixed  to  the 
required  tint.  Some  grainers  prefer  a  perfectly  white  ground  for 
very  light  oak  for  inside  work,  but  it  is  always  difficult  for  any  but 
a  perfect  master  of  the  art  to  proceed  satisfactorily  on  a  white 
ground,  and  the  work,  when  completed,  is  apt  to  have  a  chalky 
effect,  even  though  a  dark  varnish  be  applied. 

A  Darker  Wainscot  Oak. — Mix  white  lead,  middle  chrome,  and 
yellow  ochre. 

Dark  Oak. — White  lead,  Venetian  red,  and  yellow  ochre. 

Very  Dark  Oak. — White  lead,  raw  sienna,  burnt  umber,  and 
Venetian  red;  or  burnt  and  raw  sienna,  white  lead,  and  burnt 
umber. 

These  colors,  [mixed  in  diflerent  proportions,  will  produce  a 
multiplicity  of  tints  suitable  to  receive  the  graining  color,  their 
strength  being  of  course  determined  by  the  greater  or  lesser  pre- 
ponderance of  white  lead. 

Mahogany  Grounds. — There  are  various  notions  extant  amongst 
grainers  as  to  the  best  grounds  for  mahogany  graining,  some  pre- 
ferring a  ground  of  a  deep  yellow  cast,  while  others  choose  one 
approaching  a  bright  red.  The  reds  and  yellows  used  are  Vene- 
tian red,  red  lead,  vermillion,  raw  sienna,  burnt  sienna,  orange 
chrome,  middle  chrome,  etc.  These  colors  can  be  mixed  to  the 
tint  required,  an  addition  of  white  lead  being  made  in  each  case, 
as  the  positive  reds  and  yellows  are  too  powerful  unless  diluted  in 
turn  by  white.  Venetian  red,  orange  chrome,  and  white  lead  are 
the  colors  most  generally  used,  and  these  three  will,  according  to 
their  predominance  or  subordination,  make  such  a  variety  of  tints 
that  the  most  fastidious  grainer  need  have  no  misgiving  that  the 
result  will  not  come  up  to  his  expectation,  if  he  exercise  due  dis- 
cretion in  mixing  the  colors. 

Ro'<e-Mood  Ground. — Venetian  red,  vermillion,  and  white  lead. 
A  little  scarlet  lake  is  added  for  superior  work,  but  this  of  course 
is  too  expensive  for  general  use.  Some  painters  mix  with  tiie  reds 
a  small  quantity  of  raw  sienna  or  chrome  yellow. 

Bird's  Eye  Maple. — White  lead  alone  is  preierred  by  some  grain- 
ers, but  the  majority  of  painters  use  a  little  yellow  ochre  to  kill 
the  rawness  of  the  white,  and  this  is  much  the  better  plan  to  adopt 


FOR    FURNITURE    MEN.  37 

Beginners  are  apt  to  make  the  ground  too  yellow,  a  mistake  that 
should  be  avoided  at  the  outset,  as  the  varnish  which  has  subse- 
quently to  be  coated  over  the  work  will  give  transparency,  and 
add  a  pale  creamy  tone,  whereas,  if  the  ground  be  too  yellow,  the 
result  will  be  heaviness. 

Graining  Grounds. — Thebestand  cheapest  and  most  con\en- 
ient  simple  material,  for  making  grounds  for  light  oak,  maple,  ash, 
and  chestnut,  is  pure  raw  Italian  sienna,  tinted  with  pure  white 
lead,  not  the  so-called  sienna  which  is  sold  by  most  paint  dealers 
under  that  name,  but  the  genuine  article,  which  can  be,  and  should 
be  obtained  even  at  some  cost  and  trouble,  the  said  article  being 
one  of  the  most  useful  and  indispensable  articles  in  the  paint  shop. 
For  maple  ground,  ot  covirse  the  smallest  quantity  is  required,  it 
being  necessary  only  to  change  the  white  to  the  faintest  sugges- 
tion of  straw  color.  For  ash,  the  ground  should  be  a  little  darker. 
For  light  oak,  more  of  the  sienna  will  be  required,  while  for  chest- 
nut a  decidedlv  yellowish  tone  is  wanted.  Care  must  be  taken 
not  to  make  the  grounds  too  dark.  Rather  in  the  other  extreme, 
for  the  reason,  that  there  is  a  remedy  for  a  too  liglit  ground,  in  the 
application  of  a  greater  quantity  of  graining  color,  as  also 
in  the  glazing  coat;  while  a  ground  too  dark,  cannot  be  made 
lighter.  For  dark  oak,  burnt  Italian  sienna  with  white  will  pro- 
duce a  far  better  ground  than  any  other  single  color.  The  same 
caution  must  be  observed,  however,  in  obtaining  this  color  as 
recommended  in  the  case  of  the  raw  Italian  sienna.  The  domes- 
tic so-called  siennas  will  not  prove  substitutes  for  the  genuine 
Italian  pigments.  The  ground  for  black  walnut  may  be  the  same 
as  for  light  oak  with  the  addition  of  a  little  burnt  sienna  and 
black. 

Mixing  Colors. — The  primary  colors  are  those  that  cannot  be 
compounded  from  other  colors,  being  pure  in  themselves;  they  are 
three  in  number — red,  blue  and  yellow;  and  from  these  three  all 
others  are  compounded.  From  each  of  the  three  primaries  in 
combination  with  either  of  the  others,  is  derived  certain  groups  of 
colors,  termed  secondaries  and  tertiaries,  with  the  variations  of 
tints  and  shades.  All  of  these  are  regularly  classified  and  their 
combinations  may  be  learned  according  to  rule,  with  great  pleas- 


38  PRACTICAL    HINTS 

ure  to  the  learner,  and  an  almost  limitless  adittion  to  his  resources. 
A  standard  authority  on  these  subjects  is  "  Chevreul  on  Color," 
which  may  be  obtained  at  any  book-store.  The  combinations 
named  below  will  enable  the  painter  to  mix  many  colors  that  he 
may  require. 

Cream  Color. — Chrome  jellow,  tlie  best  Venetian  red,  and  white 
lead. 

Pearl  Grey. — White  lead  with  equal  portions  of  Prussian  blue 
and  lampblack.  The  blue  must  be  used  very  cautiously,  as  it  is  a 
powerful  color. 

Fa-vii  Color. — Burnt  sienna,  ground  very  fine,  mixed  with  white 
lead. 

Fa-jun  Color. — White  lead,  stone  ochre,  and  vermillion. 

Biif. — This  is  a  mixture  of  pale  chrome  yellow  and  white  lead, 
tinged  with  a  little  Venetian  red. 
■  Siravj. — A  mixture  of  pale  chrome  yellow  and  white  lead. 

Drab. — Raw  or  burnt  umber  and  white  lead,  with  a  little 
Venetian  red. 

Drab. — White  lead  with  a  little  Prussian  blue  and  yellow   ochre. 

Drab. — White  lead  with  a  little  yellow  ochre  and  lampblack. 

Drab. — White  lead  with  a  little  chrome  green. 

Purple. — White  lead,  Prussian  blue,  and  vermillion. 

Purple. — Prussian  blue,  vermillion,  and  rose  madder  or  crim- 
son lake. 

Vtolei. — Vermillion,  French  ultramarine,  a  small  portion  of 
black,  and  white  lead. 

French  Grey. — White  lead  and  Prussian  blue,'  tinged  with 
vermillion ;  and  for  the  last  coat,  if  cost  is  no  object,  substitute 
rose  madder  or  lake  for  vermillion. 

Silver. — White  lead,  indigo,  and  a  small  portion  of  black,  as 
the  shade  may  require. 

Dark  Clioitnut. — Mix  light  red  and  black.  Use  red  ochre  when 
required  to  lighten  the  color. 

Salmon. — White  lead  tinged  with  the  best  Venetian  red. 

Peach  Blossom. — White  lead  tinged  with  orpiment. 

Lead. — This  is  a  mixture  of  vegetable  black  and  white  lead. 

Dark  Lead  Color. — White,  black,  and  indigo. 


FOR    FURNITURE    MEN.  39 

Chocolate- — Vegetable  black  and  Venetian  red. 

Light  Tello'v. — Lemon  yellow  and  white  lead. 

Light  Telhnv. — Chrome  yellow,  white  lead,  and  red  lead. 

Light  Telloxv. — Raw  sienna,  mixed  with  white  lead.  If  the  color 
is  required  of  a  warmer  cast,  add  a  little  bm-nt  sienna. 

Stone  Color. — Yellow  ochre,  burnt  umber,  and  white  lead. 

Stone  Color. — Raw  sienna,  burnt  umber,  and  white  lead. 

Stone  Color. — Whits  lead,  burnt  umber,  yellow  ochre,  and  a  little 
Venetian  red. 

Olive  Green. — Prussian  blue,  chrome  yellow,  and  burnt  umber. 

Olive  Green. — Vegetable  black,  chrome  yellow,  and  a  small 
portion  of  burnt  umber. 

Grass  Green. — Several  shades  of  grass  green  may  be  made  by 
mixing  Prussian  blue  and  chrome  yellow. 

Carnation. — Lake  and  white  lead. 

Imitation  of  Gold. — Mix  white  lead,  chrome  yellow,  and  burnt 
sienna,  until  the  proper  shade  is  obtained. 

Colors  for  Outlines  of  Ornaments. — In  decorative  designs 
into  which  different  colors  enter,  attention  to  the  following  rules 
will  greatly  increase  the  beauty  of  the  work ;  tue  rules  are  based 
on  scientific  principles. 

First:  Any  color  on  a  gold  back-ground  should  be  outlined  with 
a  darker  shade  of  its  own  color. 

Second:  A  gold  ornament  on  a  colored  back.ground  may  always 
be  outlined  with  black,  provided  the  back-ground  is  not  too  dark ; 
in  that  case  outline  with  a  light  color. 

Third:  A  colored  ornament  on  a  ground  of  complementary 
color  should  be  outlined  with  a  lighter  tint  of  its  own  color,  or  a 
neutral  color. 

Fourth:  If  the  ornament  and  ground  are  in  shades  of  the  same 
color,  and  the  ornament  is  darker  than  the  ground,  the  outline 
should  be  still  darker;  if  the  ornament  is  lighter  than  the  ground, 
no  outline  is  required. 

Tones. — Often  called  shades,  signify  colors  mixed  with  either 
white  or  black. 

Tints  are  colors  mixed  with  white. 


40  PRACTICAL    HINTS 

Shades  are  colors  mixed  with  black. 

Tempera  is  a  mixture  of  powdered  colors  with  gum-water. 

Distemper  is  a  mixture  of  powdered  colors  with  size. 

Color  Harmoxy  ix  Graixed  Work. — It  is  unquestionably 
essential  that  every  painter  should  know  what  plain  colors  and  tints 
may  be  used  in  harmonious  contrasts  or  combinations  with  the 
various  painted  imitations  of  fancy  woods.  Green  is  entirelv 
unobjectionable;  indeed,  it  forms  a  pleasing  contrast  with  light 
oak,  satinwood,  bird's-eye  maple,  chestnut  and  ash — but  discords 
with  mahogany,  black  walnut  and  rosewood.  Blue  is  entirely 
harmonious  with  all  these  latter.  Black  harmonizes  with  all 
the  woods  as  does  white ;  but  white  with  the  lighter  colored 
ones  is  feeble  and  wanting.  All  the  woods  harmonize  with  each 
each  other  except  black  walnut  with  mahogany  and  rosewood. 
Gold  is  good  with  all,  but  the  contrast  with  the  light  colored  ones 
is  not  so  brilliant  as  with  the  dark-toned  woods.  The  bright  colors 
in  these,  deaden  the  usually  dull  tones  of  the  black  walnut  and 
detract  from  it  thereby  ;  whereas  the  contrast  with  the  latter-named 
wood,  with  the  light  colored  ones,  improves  and  brightens  all  the 
contrasting  tints  and  shades.  Light  and  dark  oak  are  best  shown 
by  themselves  in  contrast  with  each  other,  being  too  coarse  in  the 
grain  to  exhibit  with  good  effect  in  combination  with  maple  and 
satinwood.  In  color  harmony,  generally,  white  and  black  harmo- 
nize with  all  colors  but  green.  Gold  is  good  with  every  color, 
shade  and  tint,  but  especially  rich  with  green,  black,  purple,  car- 
mine and  blue. 

Chinese  White. — The  following  is  recommended  as  the  best 
way  to  prepare  Chinese  white: — Dissolve  as  much  Roman  alum 
in  as  small  a  quantity  of  hot  water  as  is  barely  sufficient,  and  then 
m.ix  it  with  two  ounces  and  a  half  of  honey.  Set  this  mixture  to 
evaporate  to  dryness  in  an  earthen  vessel,  over  a  gentle  fire.  It 
will  then  appear  like  a  spongy  sort  of  coal,  which  being  removed 
from  the  fire,  must  be  pounded,  and  the  powder  placed  in  shallow 
crucibles  or  cupels,  so  that  it  may  lie  very  thinly  on  them.  Expose 
these  to  a  strong  red  heat  for  an  hour;  after  this,  the  powder  must 
be  pounded  again,  and   being  replaced   in   the  cupels  it  must  be 


FOR    FURNITURE    MEN.  41 

exposed  anew  to  a  strong  heat,  and  to  a  free  current  of  air  for  an 
hour  longer.  Being  then  removed  from  tlie  fire,  it  is  reduced 
upon  a  porphyry  slab  to  an  exceedingly  fine  powder  of  an  intense 
whiteness.  It  may  be  mixed  with  gum-water,  in  the  saiiie  manner 
as  other  paints  are  usually  treated,  and  it  is  not  apt,  like  white 
lead  to  turn  to  a  dusty  hue. 

Mixing  White  Lead. — To  mix  the  white  lead  it  should  be 
placed  in  a  can  or  pot,  and  an  admixture  of  oil  and  turpentine 
being  at  hand,  a  small  quantity  should  be  poured  over  the  white 
lead,  and  the  whole  stirred  about  with  a  stifi'  palette-knife  or  a 
stopping-knife,  till  the  dilutent  has  become  thoroughly  incorpor- 
ated with  the  white  lead. 

The  mixture  may  now  be  stained  to  the  required  tint.  For  this 
purpose  the  staining  color  should  be  ground  in  oil,  and  added  cau- 
tiously to  the  diluted  white  lead,  some  colors  staining  much  more 
powerfully  than  others.  The  staining  color  should  never  be 
added  in  a  powdered  or  dry  state. 

Varnish  Green,  for  Venetian  Blinds,  &c. — The  work 
must  first  be  painted  once  or  twice  with  a  light  lead  color;  when 
hard,  grind  some  dry  white  lead  in  spirits  of  turpentine;  afterwards 
take  about  one-third  in  bulk  in  verdigris,  or  navy  green,  which  has 
been  ground  stiff"  in  oil;  then  mix  them  both  together,  and  add 
a  little  common  oak  varnish,  sufiicient  only  to  bind  the  color. 
When  this  has  been  applied  it  will  become  hard  in  about  fifteen 
minutes.  Add  more  varnish  to  give  a  good  gloss.  Then  go  over 
the  work  a  second  time,  and,  if  required,  a  third  time.  Thus  you 
will  have  a  beautiful  green  with  a  high  polish.  It  possesses  a  very 
drying  quality,  enabling  the  work  to  be  completed  in  a  few  hours. 
The  tint  may  be  varied  according  to  taste,  by  substituting  different 
greens;  and  if  a  bright  grass  green  is  required,  add  a  little  Dutch 
pink  to  the  mixture.  This  color  is  best  used  warm,  as  it  gives 
the  varnish  an  uniform  appearance. 


VARNISHES. 


Varnishes  ai-e  solutions  of  the  various  resins,  commonly 
called  gums,  in  either  oil,  turpentine,  or  alcohol.  The  gums  prin- 
cipally applied  are  amber,  anime,  copal,  lac,  sandarac,  mastic, 
damar  and  common  resin.  The  varnishes  are  all  applied  to  the 
surfaces  of  the  woods,  metals,  or  other  materials,  while  in  the 
fluid  state,  and  the  solvent  is  afterwards  evaporated,  leaving  a  thin 
glossy  coat  of  the  diiferent  resins  as  a  defence  from  the  action 
ot  the  atmosphere,  or  from  slight  friction. 

Sometimes  the  resins  are  used  separately ;  at  other  times  two  or 
more  are  combined  according  to  the  qualities  required  in  the 
varnish. 

THE  GUMS  AND  THEIR  QUALITIES, 
Amber. — The  durability  of  the  varnishes  is  of  course  mainly 
dependent  upon  the  comparative  insolubility  of  the  resins;  their 
hardness,  toughness,  and  permanence  of  color.  In  these  respects 
amber  excels  all  other  resins  used  for  varnishes;  it  resists  the 
action  of  all  ordinary  solvents,  and  can  only  be  dissolved  for 
making  varnish  by  fusion  at  a  high  temperature;  it  is  hard  and 
moderately  tough,  and  its  color  is  but  little  influenced  by  the 
atmosphere;  but,  unless  very  carefully  selected,  it  is  too  yellow 
for  delicate  works  of  light  colors.  Amber  is,  however,  but  little 
used  in  making  varnishes,  principally  on  account  of  its  high  price, 
but  partly  because  the  varnish  dries  slowly,  and  does  not  attain  its 
full  hardness  for  many  weeks. 

Anime  is  nearly  as  insoluble  and  hard  as  amber, and  the  best  is 
of  a  very  pale  color;  but  it  is  not  nearly  so  tough  as  amber.  The 
varnishes  made  from  anime  dry  quickly,  but  are  very  liable  to 
crack,  and  the  color  becomes  deeper  by  exposure  to  iiglit  and  air. 


FOR    FURNITURE    MKN.  43 

Anime  is,  however,  extensively  used  in  making  oil  varnishes,  and 
most  of  these  called  copal  varnishes  contain  a  considerable  pro- 
portion  of  anime,  which   is  substituted  principally  on  account  of 

its'quick  drying  qualities. 

Copal  is  next  in  durability  to  amber;  when  very  carefull}' 
selected  it  is  almost  colorless,  and  becomes  rather  lighter  b}' 
exposure;  it  is  more  easily  dissolved  by  heat  than  either  amber  or 
anime,  and  although  softer  than  these  resins,  is  too  hard  to  be 
scratched  by  the  nail.  Copal  is,  therefore,  a  most  excellent 
material  for  varnish,  and  numerous  attempts  have  been  made  to 
emplov  it  as  the  basis  of  a  spirit  varnish,  but  hitherto  with  only 
partial  success.  Pure  alcohol  has  little  eifect  on  copal;  with  the 
addition  of  a  small  quantity  of  camphor,  the  greater  portion  of 
the  copal  is  dissolved,  but  the  camphor  impairs  the  durability  of 
the  varnish.  Copal  may  be  perfectly  dissolved  by  ether,  but  this 
spirit  evaporates"  too  rapidly  to  allow  of  the  varnish  being  uni- 
formlv  applied.  The  essential  oils  of  spruce  and  lavender  have 
been  occasionally  employed  as  solvents  of  copal,  but  not  with 
sufficient  success  to  warrant  its  general  adoption  in  spirit  varnishes. 

Oil  Varnishes. — Amber,  anime,  and  copal  are  usually  dis- 
solved for  making  varnish  by  fusing  the  gum,  and  adding  linseed- 
oil  heated  nearly  to  the  boiling  point.  They  are  then  amalgamated 
by  stirring  and  boiling,  and  the  varnish  is  reduced  to  the  required 
degree  of  fluidity  by  the  addition  of  oil  of  turpentine.  They  con- 
stitute the  more  important  of  what  are  called  oil  varnishes,  are 
the  most  durable  of  all,  possess  considerable  brilliancy,  and  are 
sufficiently  hard  to  bear  polishing.  They  are  therefore  employed 
tor  works  of  the  best  quality,  that  aie  exposed  to  the  weather  or 
to  much  friction ;  as  coaches,  house-decorations,  and  japanning. 

ypiRiT-VARNiSHES. — Lac  and  sandarac  are  moi-e  soluble  than 
the  above  resins,  and  are  generally  dissolved  in  spirits  of  wine; 
but  sometimes  the  pyroligneous  spirit,  commonly  known  as 
vegetable  naphtha,  is  employed  as  a  cheapei  substitute.  These 
resins  constitute  the  basis  of  what  are  called  spirit  varnishes,  and 
are  employed  principally  for  delicate  objects  not  exposed  to  the 
w^eather,  such  as  cabinet  and  painted  works. 


44  PRACTICAL    HINTS 

Lac  is  much  harder  and  more  durable  than  sandarac,  and  is  the 
basis  of  most  lackers  for  hard  wood  and  metal,  and  also  of  French 
polish.  Of  the  three  varieties,  stick-lac,  seed-lac,  and  shell-lac, 
the  latter  is  the  most  free  from  color,  and  the  most  soluble;  it  is 
therefore  almost  exclusively  used  in  making  varnishes  and  lackers; 
but  the  palest  shell-lac  contains  a  considerable  quantity  of  color- 
ing matter,  that  renders  it  inadmissible  for  varnishing  works  of  a 
light  color.  In  addition,  shell-lac  also  contains  a  small  quantity 
of  wax,  and  other  matters,  that  are  only  imperfectly  soluble  in 
spirits  of  wine,  and  therefore  give  a  cloudy  appearance  to  the 
varnish,  but  which  is  not  of  great  importance  in  varnishing  dark- 
colored  works,  and  may  be  in  great  measure  avoided  by  making 
the  solution  without  heat,  and  allowing  the  more  insoluble  por- 
tions time  to  be  precipitated. 

San'darac  is  softer  and  less  brilliant  than  shell-lac,  but  is  much 
lighter  in  color ;  it  is  therefore  used  for  making  a  pale  varnish  for 
light  colored  woods,  and  other  works  for  which  the  dark  color  of 
shell-lac  would  be  unsuited.  When  hardness  is  of  greater 
importance  than  paleness,  a  portion  of  shell- lac  is  added;  but 
when  paleness  and  brilliancy  are  required,  a  small  quantity  of 
mastic  is  added.  When  the  varnish  is  required  to  be  polished, 
Venice  turpentine  is  added  to  give  sufficient  thickness  or  body. 

Mastic  is  softer  than  any  of  the  resins  previously  mentioned, 
and  is  dissolved  either  in  spirits  of  wine  or  oil  of  turpentine;  the 
latter  is  more  generally  used  on  account  of  its  cheapness.  With 
either  of  these  sohents  mastic  makes  a  varnish  of  a  very  pale 
color,  that  is  brilliant,  works  easily,  and  flows  better  on  the  sur- 
face to  which  it  is  applied  than  most  other  varnishes.  It  is 
also  tolerable  flexible,  and  may  be  easily  removed  by  friction  with 
the  hand;  it  is  therefore  much  used  for  varnishing  paintings,  and 
other  delicate  works. 

Damar  is  easily  dissolved  in  oil  of  turpentine,  and  when  care- 
fully selected  is  almost  colorless;  it  makes  a  softer  varnish  than 
mastic.  The  two  combined,  however,  form  an  almost  colorless 
varnish,  moderately  hard  and  flexible,  and  well  suited  for  maps 
and  similar  purposes. 


FOR    FURNITURE    MEN.  45 

Common  Resin  is  generally  dissolved  either  in  turpentine  or 
linseed-oil  with  heat.  Varnish  made  with  resin  is  hard  and  brittle, 
but  brilliant,  and  is  principally  employed  to  make  cheap  varnishes 
for  common  purposes  in  house-painting,  toys,  and  cabinet  work. 
It  is  also  added  to  other  varnishes  in  order  to  improve  their  bril- 
lianc}',  but  it  should  be  added  in  small  quantities  onlv,  as  a  large 
proportion  of  resin  renders  the  varnishes  brittle. 

THE  SOLVENTS. 

Linseed-oil  is  extensively  employed  as  a  vehicle  for  the 
harder  resins,  to  which  it  imparts  softness  and  toughness,  but 
causes  the  varnish  to  dry  slowly ;  and  unless  the  oil  is  of  the 
purest  and  palest  quality,  well  clarified,  and  carefully  combined 
with  the  resin,  without  excess  of  heat,  it  materially  darkens  the 
colar  of  the  varnish  when  first  made,  and  it  is  also  liable  to 
become  darker  by  age  after  it  is  applied.  Linseed-oil  intended 
for  the  best  varnishes  is  clarified  by  gradually  heating  it  in  a 
copper  pot,  so  as  to  bring  it  nearly  to  the  boiling  point  in  about 
t^\o  hours;  it  is  then  skimmed  and  simmered  for  about  three 
hours  longer,  when  dried  magnesia,  in  the  proportion  of  about 
one-quarter  of  an  ounce  to  every  gallon  of  oil,  is  gradually  intro- 
duced by  stirring;  the  oil  is  then  boiled  for  about  another  hour, 
and  afterwards  suftered  to  cool  very  gradually.  It  is  then  removed 
into  leaden  or  tin  cisterns,  and  allowed  to  stand  for  at  least  three 
months,  during  which  the  magnesia  combines  with  the  impurities 
of  the  oil  and  carries  them  to  the  bottom,  and  the  clarified  oil  is 
taken  from  the  top  of  the  cistern  as  it  is  required  without  disturb- 
ing the  lower  portion,  and  the  settlings  are  reserved  for  black  paint, 
a  pale  drying  oil  may  also  be  made  as  above,  by  substituting  for 
the  magnesia  white  copperas  and  sugar  of  lead,  in  the  proportions 
of  two  ounces  of  each  to  every  gallon  of  oil. 

Linseed-oil  when  rendered  drying,  by  boiling  and  the  addition 
of  litharge  and  red  lead,  is  sometimes  used  alone  as  a  cheap 
extempore  varnish.  In  boiling  linseed-oil,  it  is  heated  gradually 
to  bring  it  to  the  boiling  point  in  about  two  hours;  it  is  then 
skimmed,  and  well-dried  litharge  and  red  lead,  in  the  proportion 
of  about  three  ounces  of  each  to  every  gallon  of  oil,  are  slowly 


46  PRACTICAL  HINTS 


sprinkled  in,  and  the  whole  is  boiled  and  gentlj  stirred  for  about 
three  hours,  or  until  it  ceases  to  throw  up  any  scum,  or  emit  much 
smoke.  It  is  then  frequently  tested  by  dipping  the  end  of  a 
feather  into  it,  and  when  the  end  of  the  feather  is  burned  ofl"  or 
curls  up  briskly,  the  oil  is  considered  to  be  sufficiently  boiled,  and 
is  allowed  to  cool  very  slowly,  during  which  the  principal  portion 
of  the  driers  settle  to  the  bottom.  The  oil  is  afterwards  deposited 
in  leaden  cisterns  screened  from  the  sun  and  air.  When  the  oil  is 
required  to  be  as  pale  as  possible,  dried  Avhite  lead,  sugar  of  lead, 
and  white  copperas  are  employed  instead  of  the  litharge  and  red 
lead. 

Oil  of  Turpentine  is  employed  as  a  vehicle  for  most  of  the 
resins,  the  oil  varnishes  being  generally'  thinned  with  hot  oil  of 
turpentine.  Mastic,  damar,  and  common  resin  are  generally  made 
into  varnishes  by  dissolving  them  in  oil  of  turpentine  alone,  either 
cold  or  with  very  moderate  warmth.  Varnishes  made  witli  tur- 
pentine only,  dry  quicker  than  those  made  with  oil,  and  are  paler 
colored,  but  not  so  tough  and  durable.  Turpentine  varnishes  hold 
an  intermediate  position  between  oil  and  spirit  varnishes,  and  are 
employed  principally  on  account  of  their  cheapness  and  flexibility. 
Turpentine  varies  considerably  in  quality,  and  is  greatly  improved 
by  age;  that  intended  for  varnish  should  be  of  the  best  quality, 
clear  and  limpid,  and  be  kept  for  many  months,  or  even  years, 
before  it  is  used ;  and  when  employed  alone,  as  for  mastic  varnish, 
care  should  be  taken  that  it  is  not  passed  through  an  oily  measure, 
as  is  frequently  the  case  in  procuring  small  quantities. 

Alcohol,  or  Spirit.s  of  Wine,  is  employed  for  dissolving 
sandarac  and  shell-lac,  to  make  the  white  and  brown  hard  spirit 
varnishes,  and  lacker  for  liard  wood  or  brass,  and  also  French 
polish.  The  varnishes  made  with  alcohol  dry  much  quicker, 
harder,  and  more  brilliant  than  those  made  with  tin-pentine;  but 
if  the  spirit  contains  more  than  a  minute  proportion  of  water,  it 
will  scarcely  dissohe  the  resins,  and  when  the  \arnish  is  applied, 
a  very  slight  degree  of  moisture  in  the  atmosphere  will  cause  the 
resins  to  be  precipitated  from  tlie  solution,  giving  the  varnish  a 
dull,  cloudy,  or  milky  appearance.      It  is  therefore  of  the  first 


FOR   FURNITURE    MEN. 


importance,  in  making  ispirit  varnishes,  to  procure  the  alcohol  as 
pure  as  possible. 

Ordinary  spirits  of  wine,  however,  always  contains  a  consider- 
able proportion  of  water,  and  are  commonly  tested  for  varnish  pur- 
poses by  saturating  a  slip  of  writing-paper  with  the  spirit,  which 
is  then  ignited.  If  the  flame  of  the  spirit  communicates  to  the 
paper,  and  the  whole  is  burned,  the  spirit  is  considered  to  be  suf- 
ficiently good ;  but  if,  as  frequently  happens,  the  paper  should  be 
so  far  saturated  with  the  water  remaining  from  the  evaporation  of 
the  spirit  as  to  prevent  its  burning,  the  spirit  is  rejected  as  unfit 
for  varnish  purposes. 

Nearly  pure  alcohol  may  be  obtained  from  ordinary  spirits  of 
wine,  by  adding  about  one-third  its  weight  of  well-dried  carbonate 
of  potash,  agitating  the  bottle  and  then  allowing  it  to  stand  for 
ten  or  twelve  hours,  during  which  time  the  potash  will  absorb 
much  of  the  water  from  the  spirit  and  fall  to  the  bottom ;  the 
spirit  may  then  be  poured  off,  ana  fresh  alkali  added,  and  the  pro- 
cess repeated  until  the  potash  remains  quite  dry ;  the  alcohol  is 
then  to  be  freed  from  the  small  portion  of  potash  which  it  holds 
in  solution  by  distillation  in  a  water-bath. 

Naphtha,  or  the  spirit  procured  by  distillation  from  pyrolig- 
neous  acid,  and  commonly  known  as  vegetable  or  wood  naphtha, 
is  frequently  employed  instead  of  spirits  of  wine  for  making 
cheap  varnishes.  It  dissolves  ihe  resins  more  readily  than 
ordinary  spirit  of  wine,  but  the  varnish  is  less  brilliant,  and  the 
smell  of  the  naphtha  is  very  offensive.  It  is  therefore  never 
employed  for  the  best  works. 

Preparation  of  Oil  Varnishes. — The  preparation  of  oil 
varnishes  requires  the  application  of  considerable  heat,  and  owing 
to  this  and  the  highly  inflammable  nature  of  the  materials,  the 
process  is  attended  with  considerable  risk  of  setting  the  building 
on  fire.  The  process  should,  therefore,  always  be  conducted  in 
detatched  buildings  constructed  expressly  for  the  purpose.  Owing 
partly  to  the  necessity  for  this  precaution,  and  the  circumstance 
that  oil  varnishes  are  greatly  improved  by  being  kept  in  leaden 
cisterns  for  some  months  before  they  are  used,  the  preparation  of 


48  PRACTICAL    HINTS 

oil  varnish  is  carried  on  almost  exclusively  as  a  separate  manu- 
facture, the  details  of  which  are  greatly  varied,  and  are  mostly 
kept  secret. 

The  copper  pot  employed  to  make  the  varnish  is  called  a  gum- 
pot,  and  measures  about  two  feet  nine  inches  in  height,  and  nine 
and  a  half  inches  diameter  externally.  The  bottom  is  hammered 
out  of  a  single  piece  of  copper,  and  fashioned  like  a  hat  without  a 
brim ;  it  is  about  nine  inches  deep,  and  three-eights  of  an  inch  in 
thickness.  The  upper  part  of  the  pot  is  formed  as  a  cylinder,  of 
sheet  copper,  about  two  feet  two  inches  in  height,  and  of  sufficient 
diameter  to  slip  about  two  inches  over  the  upper  edge  of  the  bot- 
tom piece,  to  which  it  is  firmly  rivited.  A  wide  flange  of  copper, 
to  support  the  pot,  is  also  fixed  just  beneath  the  lower  edge  of  the 
cylinder,  and  a  strong  iron  hoop  is  fixed  a  little  above  the  line  of 
the  rivets,  to  serve  for  the  attachment  of  the  horizontal  handle, 
which  is  made  as  a  nearly  straight  rod,  one  inch  square,  flattened 
at  the  end,  and  two  feet  eight  inches  long. 

The  stirrer  is  a  copper  rod  about  three-quarters  of  an  inch 
diameter,  and  three  feet  six  inches  long,  flattened  at  the  one  end 
to  one  and  a  half  inch  in  breadth  tor  about  eight  inches  in  length, 
and  fitted  at  the  opposite  end  with  a  short  wooden  handle. 

The  ladle,  which  should  contain  about  two  quarts,  is  also  of 
copper  beaten  out  of  the  solid,  and  riveted  to  a  handle  of  the  same 
metal,  three  feet  six  inches  long,  and  fitted  with  a  wooden  handle 
like  the  stirrer. 

The  copper  Jack,  for  pouring  hot  oil  into  the  gum-pot,  is  made 
in  the  form  of  a  pitcher,  with  a  large  handle  and  a  wide  spout;  it 
contains  two  gallons.  The  brass  or  copper  sieve,  for  straining  the 
varnisli,  is  about  nine  inches  diameter,  and  contains  sixty  meshes 
to  the  inch.  The  copper  funnel,  for  straining  the  boiling  varnish, 
is  large  enough  to  receive  the  sieve,  and  should  be  well  made  with 
lapped  seams,  as  solder  would  be  melted  with  the  heat. 

The  tin  pouring-pot,  to  hold  three  gallons,  is  formed  exactly  like 
a  garden  watering-pot,  only  smaller  at  the  spout,  and  without  any 
rose  This  is  never  to  be  used  for  any  purpose  except  pouring 
oil  of  turpentine  into  the  varnish. 

A  small  broom,  termed  a  "swish,"  used  for  washing  out  the 


FOR    FURNITURE    MEN.  49 

gum-pot  every  time  after  use,  is  made  from  cuttings  of  cane  tied 
to  a  small  handle  like  a  hearth-broom;  the  head  is  five  inches 
long,  and  five  inches  round.  This  should  be  washed  in  turpentine, 
and  kept  very  clean. 

A  three-footed  iron  trevet,  with  a  circular  top,  is  emplovcd  to 
support  the  gum-pot.  The  feet  of  the  trevet  are  about  sixtfen 
inches  in  height,  and  spread  wider  at  the  bottom  than  the  top, 
which  is  made  of  such  a  size  that  the  pot  will  fit  easily  into  it,  the 
flange  resting  on  the  top. 

An  ash-bed  should  be  prepared  near  the  fire,  upon  which  to 
place  the  gum-pot  when  the  varnish  is  ready  for  mixing,  or  the 
heat  is  becoming  too  great.  This  is  prepared  by  sifting  some  dry 
ashes  through  a  fine  sieve,  to  make  a  smooth  layer  about  one 
and  a  half  inch  thick,  aiid  a  little  larger  than  the  bottom  of  the 
gum-pot. 

Place  the  trevet  in  a  hollow  in  a  field,  yard,  garden,  or  out- 
house, where  there  can  be  no  danger  from  fire;  raise  a  temporary 
fireplace  round  the  trevet  with  loose  bricks,  after  the  same  manner 
that  plumbers  make  their  furnaces;  then  make  up  a  good  fire  with 
either  coke,  coal,  or  wood  charcoal,  which  is  far  preferable;  let 
the  fire  burn  to  a  good  strong  heat,  set  on  the  gum-pot  with  three 
pounds  of  gum  copal ;  observe  that  if  the  fire  surround  the  gum- 
pot  any  higher  inside  than  the  gum,  it  is  in  great  danger  of  taking 
fire.  As  soon  as  the  gum  begins  lo  fuse  and  steam,  put  in  the 
copper  stirrer,  and  keep  cutting,  dividing,  and  stirring  the  gum  to 
assist  its  fusion;  and  if  it  feels  lumpy  and  not  fluid,  and  rises  to 
the  middle  of  the  pot,  lift  it  from  the  fii-e  and  set  it  on  the  ash-bed, 
and  keep  stirring  until  it  goes  down  (in  the  mean  time  let  the  fire 
be  kept  briskly  up);  then  set  on  the  gum-pot  again,  and  keep 
stirring  until  the  gum  appears  fluid  like  oil,  which  is  to  be  known 
by  lifting  up  the  stirrer  so  far  as  to  see  the  blade.  Observe,  that 
if  the  gum  does  not  appear  quite  fluid  as  oil,  carry  it  to  the  ash- 
bed  whenever  it  rises  to  the  middle  of  the  pot,  and  stir  it  down 
again  (keep  up  a  brisk  fire),  put  on  the  pot  and  keep  stirring  until 
the  gum  rises  above  the  blade  of  the  stirrer;  call  out  to  the  assist- 
ant, "be  ready!"  He  is  then,  with  both  hands,  to  lay  hold  of  the 
copper-pouring  jack,  charged  with  (one  gallon)  clarified  oil,  and 
4 


50  PRACTICAL    HINTS 

lean  the  spout  about  one  inch  and  a  hah'  over  the  ed<,'e  of  the  gum- 
pot.  Let  him  keep  himseh"  firm,  steady,  and  collected,  and  not 
flinch,  spill,  or  pour  the  oil,  which  would  perhaps  set  all  on  fire- 
Observe,  when  the  gum  rises  within  five  inches  of  the  pot-mouth, 
call  out,  "  pour  I"  The  assistant  is  then  to  pour  in  the  oil  very 
slowly  until  towards  the  last,  tlic  maker  stirring  during  the 
pouring. 

If  the  fire  at  this  time  is  strong  and  regular,  in  about  eight  or 
ten  minutes  the  gum  and  oil  will  concentrate  and   become  quite 
clear;  this  is  to  be  tested  by  taking  a  piece   of  broken  window- 
glass  in  the  left  hand,  and  with  the  riglit  lifting  up  the  stirrer  and 
dropping  a  portion  of  the  varni-h  on   it ;  if  it  appears  clear  and 
transparent,  the  oil  and  gum  are  become  concentrated  or  joined 
together.     It   is    now    to   be    farther   boiled    until    it   will    string 
between  the  finger  and  thumb;  this  is  known  by  once  every  min- 
ute dropping  a  portion  on  the  glass  and  taking  a  little  between  the 
forefinger  and  thumb.      If  it  is  boiled  enough  it  will  stick  strong, 
and  string  out  into  fine   filaments,  like   bird-lime;  but  when   not 
boiled  enough,  it  is  soft,  thick,  and  greasy  without  being  stringy. 
The  moment  it  is  boiled  enough,  carry  it  from  the  fire  to  the  ash- 
bed,  where  let  it  remain  from   fifteen   to  twenty  minutes,  or  until 
it  is  cold  enough  to  be  mixed ;  have  at  hand  a  sufficient  quantity 
of  oil  of  turpentine   to  fill  the  pouring-pot  (two  gallons);  begin 
and  pour  out  with  a  small  stream,  gradually  increasing  it,  and  if 
the  varnish  rises  rapidly  in  the  pot,  keep  stirring  it  constantly  at 
the  surface  with  the  stirrer  to  break  the  bubbles,  taking  care  not 
to  let  the  stirrer  touch  the  bottom  of  the  pot,  for  if  it  should,  the 
oil   of  turpentine  would  be  in  part  converted   into  vapor,  and  the 
varnish  would   run  over  the  pot    in  a  moment;  therefore,  during 
the  mixing,  keep  constantly  stirring  as  well  as  pouring  in  at  the 
same  time.     Have  also  a  copper  ladle  at  hand,  and  if  it  should  so 
far  rise  as  to  be  unmanageable,  let  the  assistant  take  the  ladle  and 
cool  it  down  witli  it,  lifting  up  one  ladleful  after  another,  and  let 
ting  it  fall  into  the  pot.     As  soon  as  the  varnish  is  mixed,  put  the 
varnish  sieve  in  the  copper  funnel  placed  in  the  canving  tin,  and 
strain  the  varnisii  immediately;  empty  it  into  open-mouthed  jars, 
tins,  or  cisterns,  there  let  it  remain  and  settle,  and   the  longer  it 


FOR  FURNITURE  MEN.  51 

remains  the  better  it  will  bacome.     Recollect  when  It  is  taken  out, 
not  to  disturb  or  raise  up  the  bottoms. 

Instead  of  the  ash-bed,  a  circle  of  loose  bricks  four  courses  high 
maj  be  erected  to  support  the  gum-pot.  The  bricks  are  to  be  laid 
so  that  when  the  gum-pot  is  set  within,  it  will  rest  securely  by  its 
tiange  with  the  bottom  about  six  inches  from  the  ground.  Upon 
this  brick-stand  set  the  pot  every  time  there  is  occasion  to  carry 
it  trom  the  fire.  Near  the  stand  an  iron  trevet  may  be  placed, 
upon  which  to  turn  the  gum-pot  every  time  after  it  is  washed  out, 
as,  by  so  doing,  it  will  always  be  kept  clean,  and  cool  gradually, 
for  by  cooling  rapidly  copper  oxidizes  very  quickly.  Near  the 
trevet  have  the  swish  broom  and  also  a  large  wide  tin  jack  or 
other  vessel  to  recei\e  the  washings.  Have  also  at  hand  a  copper 
ladle,  and  a  tin  bottle  with  turpentine,  for  washing  with  when 
wanted. 

The  moment  the  maker  has  emptied  the  gum-pot,  throw  into  it 
half  a  gallon  of  turpentine,  and  with  the  swish  immediately  wash 
it  from  lop  to  bottom,  and  instantly  empty  it  into  the  tin  jack. 
Afterwards,  with  a  large  piece  of  woolen  rag  dipped  in  pumice 
powder,  wash  and  polish  every  part  of  the  inside  of  the  pot,  per- 
forming the  same  operation  on  the  ladle  and  stirrer;  rinse  them 
with  the  turpentine  washings,  and  at  last  rinse  them  altogether 
with  clean  turpentine,  which  also  put  to  the  washings,  wipe  dry, 
with  a  clean  soft  rag,  the  pot,  ladle,  stirrer,  and  funnel,  and  lay  the 
sieve  so  as  to  be  completely  covered  with  turpentine,  which  will 
always  keep  it  from  gumming  up 

Eight  pounds  of  copal  takes  in  general  fi'om  sixteen  to  twenty 
minutes  in  fusing,  from  the  beginning  till  it  gets  clear  like  oil; 
but  the  time  depends  very  much  on  the  heat  of  the  fire  and  tiie 
attention  of  the  operator.  During  the  first  twe'.ve  minutes  while 
the  gum  is  fusing  the  assistant  must  look  to  the  oil,  which  is  to^be 
heated  at  a  separate  fire  in  a  copper  pot,  large  enough  to  contain 
double  the  quantity  required.  The  oil  should  be  brought  to  a 
smart  simmer,  for  it  ought  neither  to  be  too  hot  nor  too  cold,  but 
in  appearance  beginning  to  boil,  which  the  assistant  is  strictly  to 
observe;  and,  when  ready,  call  to  the  maker;  then  immediately 
each  take  hold  of  one  handle  of  the  boiling-pot  and  carry  it  to  the 


52  PRACTICAL    HINTS 

ash-bed,  the  maker  instantly  returning  to  tlie  gum-]iot,  while  tiie 
assistant  ladles  the  hot  oil  into  the  copper-pouring  jack,  bringing 
it  and  placing  it  at  the  back  of  the  gum-pot  until  wanted. 

A  thick  piece  of  old  carpet,  tree  from  holes,  should  be  kept  at 
hand  in  case  the  gum-pot  should  take  fire;  should  this  happen, 
let  the  assistant  throw  the  piece  of  carpet  quickly  over  the  blaz- 
ing pot,  holding  it  down  all  round  the  edges;  and  in  a  few  minutes- 
the  fire  will  be  smothered. 

After  the  oil  has  been  mixed  with  the  gum,  a  brisk  strong  fire 
should  be  kept  up,  until  a  scum  or  froth  rises  and  covers  all  the 
surface  of  the  contents,  when  it  will  begin  to  rise  rapidly.  Observe 
when  it  rises  about  two-thirds  the  height  of  the  pot,  carry  it  from 
the  fire,  and  set  it  on  the  ash-bed,  or  brick-stand,  stir  it  down 
again;  and  if  driers  are  to  be  added,  scatter  in  a  few  by  a  little  at 
a  time;  keep  stirring,  and  if  the  frothy  head  goes  down,  put  the 
pot  on  the  fire,  and  introduce  gradually  the  remainder  of 
the  driers,  always  carrying  the  pot  to  the  ash-bed  when  the  frolh 
rises  about  two-thirds  the  height  of  the  pot.  In  general,  if  the 
fire  be  gooJ,  all  the  time  a  pot  requires  to  boil  from  the  time  ot 
the  oil  being  poured  in,  is  about  three  and  a  half  or  four  hours ; 
but  time  is  no  criterion  for  a  beginner  to  judge  by,  as  it  may  vary 
according  to  the  weather,  the  quality  of  the  ingredients,  or  the 
heat  of  the  fire;  therefore,  about  the  third  hour  of  boiling,  try  it 
on  a  bit  of  glass,  and  keep  boiling  it  until  it  feels  strong  and 
stringy  between  the  fingers,  as  before  mentioned. 

The  foregoing  directions  are,  with  very  little  difterences,  to  be 
observed  in  making  all  sorts  of  copal  varnishes,  excepting  the 
quantities  of  oil,  gum,  ^c,  .a  few  of  which  will  be  now  added. 

Copal  \'arni,sh  ior  1-'ine  PAiN'riNG.s,t*v;c. — Fuse  eight  pounds 
of  the  very  cleanest  ])ale  African  gum  copal,  and,  when  completely 
run  fluid,  pour  in  two  gallons  of  hot  oil ;  let  it  boil  until  it  will  string' 
very  strong;  and  in  about  fifteen  minutes,  or  while  it  is  yet  very 
hot,  pour  in  three  gallons  of  turpentine,  got  from  the  top  of  a 
cistern.  Perhaps  during  the  mixing  a  considerable  quantity  of 
the  turpentine  will  escape,  but  the  varnish  will  be  so  much  the 
brighter,  transparent,  and  fluid  ;  and  will   work   freer,  dry  quickly. 


FOR    FURNITURE    MEN.  53 

and  be  very  solid  and  durable  when  dry.  After  the  varnish  has 
been  strained,  if  it  is  tbund  too  thick,  before  it  is  quite  cold,  heat 
as  much  tur|->entine  and  mix  with  it  as  wi'l  bring  it  to  a  proper 
consistence. 

Artist'.s  Virgin  Copal. — From  a  select  parcel  of  scraped  Afri- 
can gum  copal,  before  it  is  broken,  pick  out  the  very  fine  transparent 
pieces,  which  appear  round  and  pale,  like  drops  of  crystal;  break 
these  very  small;  dry  them  in  the  sun,  or  by  a  very  gentle  fire. 
Afterwards,  when  cool,  brinse  or  pound  them  into  a  coarse 
powder;  then  procure  some  broken  bottles  or  flint-glass,  and  boil 
the  same  in  soft  water  and  soia;  then  bruise  it  into  a  coarse 
powder,  like  the  gum;  boil  it  a  second  time,  and  strain  the  water 
from  it,  washing  it  with  threj  or  four  waters,  that  it  may  be  per- 
fectly clean  and  free  from  grease  or  any  impuritv;  dry  it  before 
the  fire,  or  upon  a  plate  set  in  an  oven.  When  thoroughl}'  dry, 
mix  two  pounds  of  the  powdered  glass  with  three  pounds  of  the 
powdered  copal;  after  mixing  them  well,  put  them  into  the  gum- 
pot,  and  fuse  the  gum;  keep  stirring  all  the  time;  the  glass  will 
pre\'ent  the  gu;n  from  adhering  together,  so  that  a  very  moderate 
fire  will  cause  the  gum  to  fuse.  When  it  appears  sufficiently  run, 
have  ready  three  quarts  of  clarified  oil,  very  hot,  to  pour  in. 
Afterwards,  let  it  boil  until  it  strings  freely  between  the  fingers. 
Begin  and  mix  it  rather  hotter  than  if  it  were  body  varnish,  for, 
as  there  is  but  a  small  quantity,  it  will  be  sooner  cold;  pour  in 
five  quarts  of  old  turpentine,  strain  it  immediately,  and  pour  it 
into  an  open  jar,  or  large  glass  bottle;  expose  it  to  the  air  and 
light,  but  keep  it  both  from  the  sun  and  moisture  until  it  is  of  a 
sufficient  age  for  use.  This  is  the  finest  copal  varnish  for  fine 
paintings. 

C.\BiNET  Varnish. — Fuse  seven  pounds  of  very  fine  African 
gumcopal;  when  well  dissolved,  pour  in  half  a  gallon  of  pale  clari- 
fied oil ;  and  when  clear  mix  with  it  three  gallons  of  turpentine ;  after- 
wards strain  it,  and  put  it  aside  for  use.  This,  if  properly  boiled, 
will  dry  in  ten  minutes;  but  if  too  strongly  boiled,  will  not  mix 
at  all  with  the  turpentine;  and  soincttin'^-^,  when  boiled  with  the 
turpentine  will  mix,  and  yet  refuse  to  amalgamate  with  any  other 
varnish  less  boiled  than  itself;  therefore,  it  requires  a  nicety  which 


54  PRACTICAL    HINTS 

is  only  to  be  learned  iVom  practice.  This  varnish  is  very  apt  to 
chill  all  other  oil  varnishes  to  which  it  may  be  added,  and  is  prin- 
cipally employed  as  a  quick  drying  varnish  for  the  occasional  use 
of  japanners,  cabinet,  and  coach-painters.  Cabinet  varnish  is, 
however,  more  generally  made  with  anime  than  copal. 

Best  Body  Copal  V.vrnish  for  Polishing. — Fuse  eight 
pounds  of  fine  African  gum  copal,  add  two  gallons  of  clarified  oil ; 
boil  it  very  slowly  for  four  or  five  hours,  until  quite  stringy,  and 
mix  it  off  with  three  and  a  half  gallons  of  turpentine. 

The  above  varnishes  being  made  of  the  finest  copal  without 
driers  are  the  palest  and  best  of  the  copal  varnishes,  possessing 
great  fluidity  and  pliability,  but  they  are  rather  slow  in  drying 
and  retain  for  months  so  much  softness  that  they  will  not  polish 
well,  until  they  give  out  a  moisture  and  become  hard;  after  which 
they  are  very  durable.  When  paleness  is  not  of  primary  import- 
ance a  second  quality  of  gum  is  used,  and  when  the  varnish  is 
required  to  dry  quickly,  sugar  of  lead  or  white  copperas  are  intro- 
duced as  driers,  either  singly  or  conibin  d,  in  the  proportion  of 
from  half  a  pound  to  one  pound  to  each  of  the  quantities  above 
quoted,  but  driers  are  always  injurious  to  the  color,  brilliancy,  and 
durability  of  varnishes.  When  a  varnish  is  required  that  will 
dry  quick  and  hard  without  driers,  gum  anime  is  substituted  for 
th:  copal,  but  it  is  less  durable  and  becomes  darker  by  age.  Fre- 
quently, anime  varnish  is  mixed  with  copal  varnish  by  the  maker 
while  both  are  hot,  in  different  proportions  according  to  the  quality 
required;  one  pot  of  the  anime  to  two  of  copal  being  used  for  a 
moderately  quick  drying  body  varnish  of  good  quality;  ami  two 
pots  of  anime  to  one  of  copal  for  a  quicker  drying  body  varnish 
of  common  quality. 

Carriage  Varnish  is  made  much  the  same  as  common  body 
varnish,  e.vcept  that  to  ei^ht  pounds  of  gum  ot  second  quality 
about  two  and  a  half  gallons  of  oil  and  five  and  a  half  gallons  of 
turpentine  are  used  with  driers.  This  varnish  is  boiled  until  very 
stringy,  and  is  used  for  the  wheels  and  under  framework  of 
coaches  and  other  objects  not  requiring  to  be  polished;  it  is  inter- 
mediate in  quality  between  body  varnish  and  the  following. 


FOR    FURNITURE    MEN.  55 

Wainscoat  Varnish  con;,istsof  eight  pounds  of  second  quality 
e;um  anime,  three  gallons  of  clarified  oil,  one-quarter  pound  of 
litharge,  one-quarter  pound  of  dried  sugar  of  lead,  one-quarter 
pound  of  copperas,  well  boiled  until  it  strings  very  strong,  mixed 
with  five  and  a  half  gallons  of  turpentine.'  This  varnish  dries 
quickly,  and  is  principally  used  for  house-painting  and  japanning. 
When  a  darker  varnish  is  required,  as  for  mahogany,  a  small  por- 
tion of  gold  size  may  be  mixed  with  it. 

Pale  Amber  Varnish. — Fuse  six  pounds  of  fine-picked  very 
pale  transparent  amber  in  the  gum-pot,  and  pour  in  two  gallons  of 
hot  clarified  oil.  Boil  it  until  it  strings  very  strong.  Mix  with  four 
gallons  of  turpentine.  This  will  be  as  fine  as  body  copal,  will 
work  very  free,  and  flow  well  upon  any  work  it  is  applied  to;  it 
dries  slowly,  but  becomes  very  hard,  and  is  the  most  durable  of  all 
varnishes.  It  is  very  excellent  to  mix  in  copal  varnishes,  to  give 
to  them  a  hard  and  durable  quality.  Amber  varnish  is,  however, 
but  little  used,  on  account  of  its  expense. 

In  making  all  the  above  varnishes,  it  should  be  observed  that 
the  more  minutely  the  gum  is  fused,  the  greater  the  quantity  and 
the  stronger  the  produce.  T«ie  more  regular  and  longer  the  boil- 
ing of  the  oil  and  gum  together  is  continued,  the  more  fluid  or 
free  the  varnish  will  extend  on  whatever  it  is  applied.  When  the 
mixture  of  oil  and  gum  is  too  suddenly  brought  to  string  by  too 
strong  a  heat,  the  varnish  requires  more  than  its  just  proportion 
of  turpentine  to  thin  it,  whereby  its  oily  and  gummy  quality  is 
reduced,  which  renders  it  less  durable;  neither  will  it  flow  so  well 
in  laying  on.  The  greater  proportion  of  oil  there  is  used  in 
varnishes,  the  less  they  are  liable  to  crack,  because  the  tougher 
and  softer  they  are.  Increase  the  proportion  of  gum  in  varnishes, 
the  thicker  the  stratum  required,  and  the  firmer  they  will  set,  and 
the  quicker  they  will  dry. 

All  bodv  varnishes,  or  those  intended  to  be  polished,  should 
have  one  and  a  half  pounds  of  gum  (o  each  gallon  of  varnish 
when  it  is  strained  otf  and  cold.  All  carriage  or  v\ainscot  varnishes 
or  those  not  intended  to  be  polished,  should  have  full  one  pound 
of  gum  to  each  gallon.  But  the  quantity  of  gum  required  to 
bring  it  to  its  proper  consistence,  depends  very  much  upon   the 


56  PRACTICAL    HINTS 

degree  of  boiling  it  has  undergone;  therefore,  %vhen  tlie  giiin  and 
oil  have  not  been  strongly  boiled,  the  varnish  requires  less  turpen- 
tine to  thin  it,  and  when  boiled  stronger  than  usual,  a  larger  pro- 
portion of  turpentine  is  required;  if  the  mixing  of  the  varnish 
with  the  turpentine  is  commenced  too  soon,  and  the  pot  is  not 
sufficiently  cool,  there  may  be  considerable  loss  by  evaporation. 

Copal  varnishes  should  be  made  at  least  three  months  before 
they  are  required  for  use,  and  the  longer  they  are  kept  the  better 
they  become;  but  when  it  is  necessary  to  use  the  varnishes  before 
they  are  of  sufficient  age,  they  should  be  left  thicker  than  usual. 

Preparation  of  Spirit  and  Turpentine  Varnishes.— - 
In  the  preparation  of  spirit  and  turpentine  varnishes,  scarcely  any 
apparatus  is  required;  as,  generally  speaking,  the  process  is  almost 
limited  to  mixing  the  resins  and  solvent  together,  and  agitating 
the  whole  until  the  resin  is  thoroughly  dissolved.  Heat  is  not 
generally  necessary,  and  although  frequently  resorted  to  in  order 
to  facilitate  the  dissolution  of  the  resins,  in  most  instances  only  a 
moderate  degree  of  warmth  is  required;  consequently  the  pre- 
paration of  spirit  and  turpentine  varnishes  is  far  more  manageable 
than  that  of  oil  varnishes,  and  entails  much  less  risk  of  accident. 

The  resins  should  be  thoroughly  free  from  moisture,  and  are 
generally  broken  into  small  pieces,  in  order  that  they  may  be 
dissolved  more  quickly,  and  all  impurities  are  carefully  picked 
out;  after  which  the  finest  and  clearest  pieces  are  generally 
selected  and  set  aside  for  making  small  quantities  of  varnish  of  a 
superior  quality.  Sometimes,  with  the  view  of  expediting  the 
dissolution  of  the  resins,  they  are  finely  powdered  before  they  are 
added  to  the  solvent;  but,  in  this  case,  it  is  necessary  that  the 
agitation  should  be  maintained  from  the  time  the  resin  is  added 
until  it  is  thoroughly  dissolved,  otherwise  it  is  liable  to  agglutinate 
into  one  mass,  that  is  afterwards  ver^-  difficult  of  solution. 

In  making  turpentine  varnishes  without  heat,  in  quantities  of 
ten  or  twelve  gallons,  the  resin  and  turpentine  are  generally  intro- 
duced into  a  large  can  with  a  wide  mouth,  and  agitated  by  stirring 
with  a  stout  stick;  a  number  of  wooden  pegs  or  nails  are  mostly 
driven  into  the  stick,  near  the  lower  end,  to  increase  its  effect. 

Spirit  varnishes  are  generally  made  in  smaller  quantities;  and, 


FOR    FURNITURE    MI1;N.  57 

to  prevent  the  evaporation  of  the  spirit,  the  nioulh  of  the  vessel 
is  mostly  closed  and  the  vessel  itself  is  agitated.  In  making 
quantities  of  four  to  eight  gallons,  the  resin  and  solvent  are  some- 
times introduced  into  a  small  cask  capable  ot  containing  about 
double  the  quantity,  and  mounted]t<j  revolve  on  central  bearings  at 
the  ends.  The  cask  is  made  to  revolve  either  with  continuous 
motion  by  a  winch-handle,  or  with  an  alternating  motion  by 
means  of  a  cord  passed  around  the  barrel  and  terminating  in  a 
croas-handle,  which  the  operator  pulls  to  give  motion  to  the 
barrel  in  the  one  direction,  and  the  momentum  of  which  suffices 
to  coil  up  the  cord  ready  for  the  following  pull,  which  causes  the 
barrel  to  revolve  in  the  opposite  direction,  and  so  on  continually. 

Quantities  of  varnish  not  exceeding  two  or  three  gallons,  are 
generally  agitated  in  a  tin  can,  rolled  backwards  and  forwards 
upon  a  bench  covered  with  an  old  carpet  or  a  sack;  but  whatever 
method  is  adopted  for  the  agitation,  it  should  be  continued,  with- 
out intermission,  until  the  resin  is  sufficiently  dissolved  to  prevent 
the  risk  of  its  becoming  agglutinated;  the  time  required  for 
which  depends  upon  the  solubility  of  the  resin  and  the  strength 
of  the  spirit,  but  is  commonly  from  three  to  four  hours.  The 
farther  agitation  for  tlie  thoiough  solution  of  the  resin  maybe 
either  continuous  or  intermittent,  according  to  convenience,  but 
it  should  not  be  abandoneil  until  tlie  solution  is  perfect;  and 
when  it  is  judged  to  be  complete,  the  varnish  is  poured  into 
another  vessel  for  examination;  and  if  any  of  the  resin  is  not 
perfectly  dissolved,  the  whole  is  returned  to  the  vessel  for  farther 
agitation.  When  the  resin  is  all  dissolved,  the  varnish  is  allowed 
to  stand  for  a  tew  hours,  that  any  impurities  may  settle  to  the 
bottom,  and  the  clear  varnish  is  lastly  strained  through  muslin  or 
lawn  into  bottles,  and  allowed  to  stand  for  a  few  days  before  use. 

Very  small  quantities  of  varnish  are  generally  made  in  glass 
bottles,  large  enough  to  contain  about  one-third  more  than  the 
quantity  introduced,  and  they  are  shaken  up  at  frequent  inter- 
vals; but  although,  from  the  small  bulk  of  the  resin,  it  cannot 
agglutinate  into  so  insoluble  a  mass  as  when  larger  quantities  are 
made,  still,  when  the  agitation  is  intermitted,  several  days  are 
frequently  required  before  the  resins  are  entirely  dissolved,  as  the 


58  PRACTICAL    HINTS 

solution  depends  more  upon  the  amount  of  agitation  than  the 
length  of  time  the  resins  are  submitted  to  the  action  of  the 
solvent. 

Sometimes,  with  the  view  of  preventing  the  agglutination  and 
lacilitating  the  dissolution  of  the  resins,  coarsely-pounded  glass  is 
introduced  with  the  resin  and  solvent;  in  this  case  the  glass 
should  be  thoroughly  washed  and  dried,  and  afterwards  sifted,  to 
exclude  all  the  smaller  particles,  which,  from  their  lightness, 
would  have  little  effect  in  preventing  the  aggregation  of  the  resin, 
and  would  be  more  troublesome  to  separate  from  the  varnish. 

When  heat  is  employed  in  making  spirit  varnishes,  the  lowest 
temperature  should  be  used  that  will  suffice  to  dissolve  the  resins, 
as  otherwise  there  is  risk  of  losing  a  considerable  portion  of  the 
alcohol  by  evaporation,  thereby  reducing  the  strength  of  the 
spirit;  the  varnish  is  also  liable  to  be  made  of  a  darker  color  by 
excess  of  heat,  and  those  containing  shell-lac  are  less  clear  and 
hard  when  made  with  heat  than  when  made  quite  cold,  as  the 
heated  spirit  dissolves  the  greater  portion  of  the  wax  contained  in 
the  shell-lac,  and  which  becomes  disseminated  throughout  the 
mass;  but  when  the  solution  is  made  without  heat,  the  principal 
portion  of  the  wax  and  other  impurities  remains  undissolved  at 
the  bottom. 

In  making  large  quantities  of  spirit  varnish  with  heat,  a  still 
and  worm  are  sometimes  employed,  in  order  to  prevent  loss  by 
evaporation;  the  still  is  heated  by  a  steam  or  water-bath,  and  the 
resins  and  solvent  are  agitated  by  a  stirring-rod  passing  through 
a  stuffing-box  in  the  head  ot  the  still.  Quantities  of  two  or  three 
gallons  are  generally  made  in  a  tin  can,  which  is  dipped  at  fre- 
quent intervals  into  hot  water,  and  agitated  between  every  dip  by 
rolling;  but  in  this  case  it  is  necessary  to  loosen  the  cork  every 
time  it  is  immersed  in  the  hot  water,  in  order  to  allow  the  vapor 
of  the  spirit  to  escape;  otherwise  the  cork  , would  be  driven  out 
wiih  great  force,  and  some  of  the  spirit  might  be  thrown  on  the 
fire  with  great  risk  of  serious  accident.  Glass  bottles,  although 
convenient  from  their  transparenc}',  should  never  be  employed 
for  making  varnish  with  heat,  as  they  are  liable  to  break  from  the 
alternations  of  teinperature.     They  are,  however,  often  used  for 


FOR    FURNITURE    MEN.  59- 

making  small  quantities,  and  in  this  case  the  safer  practice  is  to 
heat  the  water  only  in  a  moderate  degree,  and  to  allow  of  the 
continuous  escape  of  the  vapor  through  a  small  notch  cut  length- 
wise in  the  cork,  and  which  may  be  closed  bv  the  thumb  when 
the  bottle  is  shaken.  There  is,  however,  always  some  little  risk, 
of  accident  in  making  spirit  varnishes  near  an  open  fire,  when 
much  heat  is  employed;  and  a  water  or  sand  bath,  placed  on  the 
top  of  a  stove,  so  as  to  be  heated  only  in  a  moderate  degree,  will 
be  generally  ibund  to  aftbrd  sufficient  warmth,  and  is,  perhaps^ 
the  most  safe  and  convenient  arrangement  for  occasional  purposes. 

Shell-lac  never  requires  more  than  a  very  moderate  warmth  to 
dissolve  it,  and  the  solution  is  frequently  inade  in  stone  bottles,, 
placed  near  a  fire  and  sh.'iken  occasionally.  When  it  is  required 
to  be  very  clear,  as  tor  metal  lacker,  it  should  be  passed  through 
filtering-paper,  before  it  is  bottled. 

It  need  scarcely  be  observed,  that  all  the  utensils  employed  in 
making  spirit  varnishes  should'be  perfectly  clean  and  dry,  as  the 
least  moisture  or  even  a  damp  atmosphere  is  liable  to  deteriorate- 
the  quality  of  the  varnish. 

Best  White  Hard  Spirit  Varnish,  to  bear  polishing,  is 
made  by  adding  two  pounds  of  the  best  picked  gum  sandarac  to 
one  gallon  of  spirit  of  wine;  they  are  then  shaken  up  without 
intermission  for  about  four  hours,  or  until  the  gum  is  quite  dis- 
solved; eighteen  ounces  of  Venice  turpentine  is  then  moderately 
warmed,  in  a  water-bath,  to  make  it  fluid,  and  poured  into  the 
varnish  to  give  it  a  body ;  the  whole  is  then  well  agitated  for 
about  one  hour,  and  afterwards  strained  and  put  into  bottles, 
which  should  be  kept  well  corked,  to  prevent  the  evaporation  of 
the  spirit;  after  standing  about  a  week,  the  varnish  is  fit  for  use. 
This  varnish  may  be  made  sufticiently  pale  to  be  used  on  white 
work,  when  the  clearest  and  jpalest  pieces  of  the  gum  are  care- 
fully selected.  When  the  \\ork  does  not  require  to  be  polished, 
the  proportion  of  Venice  turpentine  may  be  reduced  one-half. 

White  Hard  Varnish  is  also  made  with  three  and  a  half 
pounds  of  gum  sandarac  to  one  gallon  of  spirit  of  wine,  and  when 
they  are  dissolved  one  pint  of  pale  turpentine  varnish   is  added,. 


60  PRACTICAL    HINTS 

and  the  whole  are  well  shaken  vmtil  thoroughly  mixed.  Anotlier 
wiiite  hard  varnish  is  made  with  two  pounds  of  gum  sandarac,  one 
poimd  of  gum  mastic,  and  one  gallon  of  sj^irit  of  wine. 

^VIIITE  .Spirit  Varni.sii,  foi-  N-iolins,  is  made  with  two  ]iounds 
of  mastic  to  one  gallon  of  spirit  of  wine,  and  one  pint  ol  turpen- 
tine varnish.  This  may  be  made  either  in  the  same  manner  as 
the  white  hard  varnish,  or  the  ingredients  may  all  be  mixed 
together  in  a  tin  can,  placed  in  a  warm  situation  near  a  fire,  and 
shaken  occasionalh-  until  dissolved. 

Brown  Hard  Spirit  Varnish  is  made  in  the  same  manner 
as  white  hard  varnish,  but  shell-lac  is  generally  used  instead  of 
sandarac.  Thus  a  very  excellent  brown  hard  spirit  varnish  that 
-will  bear  polishing  is  made  with  two  pounds  of  shell-lac  to  one 
gallon  of  spirit  of  wine;  and,  after  they  are  amalgamated, 
eighteen  ounces  of  \'enice  turj^entine  are  warmed  and  added, 
•exactly  as  described  for  the  best  Avhite  hard  varnish.  Another 
very  good  brown  hard  spirit  varnish  consists  of  two  pounds  of 
shell  lac,  one  poimd  of  sandarac,  and  two  ounces  of  mastic  dis- 
solved in  one  gallon  of  spirit  of  wine.  A  lighter-colored  varnish 
is  made  with  two  pounds  of  sandarac,  one  pound  of  shell-lac,  and 
•one  gallon  of  spirit.  After  the  resins  are  dissolved,  one  pint  of 
turpentine  varnish  is  added,  and  the  whole  is  well  mixed  by 
agitation. 

Hard-wood  Lacker  is  made,  like  the  brown  hard  varnish, 
\\ith  two  pounds  of  shell-lac  to  one  gallon  of  spirit  of  wine,  but 
without  turpentine.  Another  hard-wood  lacker  is  made  with  one 
pound  of  seed-lac  and  one  poimd  of  white  resin,  dissolved  in  one 
gallon  of  spirit  of  wine. 

French  Poli.sh  is  made  in  a  great  variety  of  ways;  but  the 
simplest,  and  probably  the  best,  consists  of  one  and  a  half  pound 
of  shell-lac  dissolved  in  one  gallon  of  spirit  of  wine  without  heat. 
Copal,  sandarac,  mastic,  and  gum  Arabic,  are  frequently  used  in 
making  French  jiolish,  partly  with  the  view  of  making  the  polish 
■of  a  lighter  color,  and  partly  to  please  the  fancy  of  the  polisher; 
the  proportions  of  the  different  gums  are  varied  almost  infinitely, 
but  with  little  advantage.     A  polish  that  is  by  some  considered  to 


FOR    FURNITURE    MEN.  61 

be  very  good  is  made  \sith  t\\ ehe  ounces  of  shell-lac,  six  ounces- 
of  guin  Arabic,  and  three  ounces  of  copal  to  one  gallon  of  spirif 
of  wine.  When  a  dark-colored  polish  is  required,  half  a  pound 
of  benzoin  is  sometimes  added  to  one  pound  of  shell-lac  dissolved 
in  one  gallon  of  spirit,  or  four  oimces  of  guaiaciim  are  added  to- 
one  and  a  half  pound  of  shell-lac;  at  other  times  the  polish  is 
colored  to  the  required  tint  with  dragon's-blood. 

The  shell-lac  alone  makes  the  hardest  and  most  durable  polish^ 
and  it  is  a  frequent  practice  to  make  the  polish  rather  thicker  in 
the  first  instance  than  it  is  required  for  use,  as  it  may  be  readily 
thinned  by  the  addition  of  spirit.  But  if  it  should  be  made  too- 
thin  originally,  it  would  require  to  be  thickened  by  dissolving  a 
farther  portion  of  shell-lac.  Willi  the  view  of  avoiding  any  risk 
of  the  polish  being  made  too  thin  in  the  first  instance,  the  propor- 
tion of  shell-lac  is  frequently  made  two  pounds  to  the  gallon  of 
spirit.  Other  resins  are  sometimes  added,  with  the  view  of  mak- 
ing the  polish  tougher.  Thus,  sometimes,  the  polish  is  made  \\ith 
one  and  a  half  pound  of  shell-lac,  four  ounces  of  seed-lac,  four 
ounces  of  sandarac,  and  two  ounce  of  mastic  to  the  gallon  of 
spirit;  at  other  times  the  proportions  are  two  pounds  of  shell-lac 
and  four  ounces  of  thus  to  the  gallon  of  spirit. 

Bleached  Shellac. — When  a  lighter-colored  lac  varnish,  or 
polish  is  required  than  can  be  made  with  the  palest  ordinary  shell- 
lac,  the  bleached  lac,  sold  under  the  name  of  white  lac,  may  be 
employed  with  adx'antage.  The  varnish  made  with  the  white  lac 
is  at  first  almost  colorless,  but  becomes  darker  by  exposure  tO' 
the  light. 

Various  modes  have  been  adopted  for  bleaching  lac  varnish. 
One  process  is  as  follows:  Six  ounces  of  shell-lac,  coarsely 
pounded,  are  to  be  dissolved  by  gentle  heat  in  a  pint  of  spirit  of 
wine;  to  this  is  to  be  added  a  bleaching  liquor,  made  by  dissolving 
purified  carbonate  of  potash  in  water,  and  then  impregnating  it 
with  chlorine  gas  till  the  silica  precipitates,  and  the  solution 
becomes  slightly  colored.  Of  the  above  bleaching  liquor,  add 
one  or  two  ounces  to  the  spirituous  solution  of  lac,  and  stir  the 
whole  well  together;  eft'ervescence  takes  place,  and,  when  this- 
ceases,  add  more  of  the  bleaching  liquor,  and  thus  proceed  till  the 


^2  PRACTICAL    HINTS 


color  of  the  mixture  has  become  pale.  A  second  lileaching  liquid 
is  now  to  be  added,  made  In'  diluting  muriatic  acid  with  thrice  its 
weight  of  water,  and  dropping  into  it  pulverized  red  lead,  till  the 
last  added  portions  do  not  become  white.  Of  this  acid  bleaching 
liquor,  small  quantities  at  a  time  are  to  be  added  to  the  half- 
bleached  lac  solution,  allowing  the  effervescence,  which  takes 
place  on  each  addition,  to  cease  before  a  fresh  portion  is  poured  in. 
This  is  to  be  continued  till  the  lac,  now  white,  separates  from  the 
liquor.  The  supernatant  fluid  is  now  to  be  poured  awaj,  and  the 
lac  is  to  be  well  washed  in  repeated  waters,  and  rniully  wrung  as 
■dry  as  possible  in  a  cloth. 

Another  process :  Dissolve  five  ounces  of  shell-lac  in  a  quart 
of  rectified  spirit  of  wine ;  boil  for  a  few  minutes  with  ten  ounces 
of  well-burned  and  recentl^'-heated  animal  charcoal,  when  a  small 
quantity  of  the  solution  should  be  drawn  off  and  filtered;  if  not 
colorless,  a  little  more  charcoal  must  be  added.  When  all  color 
is  removed,  press  the  liquor  through  silk,  as  linen  absorbs  more 
varnish,  and  afterwards  filter  it  through  fine  blotting-paper. 

Dr.  Hare's  process,  published  in  the  Franklin  yoitrnal,  is  as  fol- 
lows: Dissolve,  in  an  iron  kettle,  one  part  of  pearlash  in  eight 
parts  of  water;  add  one  part  ot  shell  or  seed-lac,  and  heat  the 
whole  to  ebullition.  When  the  lac  is  dissolved,  cool  the  solution, 
and  impregnate  it  with  chlorine  gas  till  the  lac  is  all  precipitated. 
The  precipitate  is  white,  but  the  color  deepens  by  washing  and 
consolidation;  dissolved  in  alcohol,  lac,  bleached  by  the  process 
above  mentioned,  yields  a  varnish  which  is  as  free  from  color  as 
any  copal  varnish. 

A  nearly  colorless  varnish  may  also  be  made  by  dissolving  the 
lac,  as  in  Dr.  Hare's  process;  bleaching  it  with  a  filtered  solution 
of  chloride  of  lime,  and  afterwards  dissolving  the  lime  from  the 
precipitate,  by  the  addition  of  muriatic  acid.  The  precipitate  is 
then  to  be  well  washed  in  several  waters,  dried,  and  dissolved  in 
alcohol,  which  takes  up  the  more  soluble  portion,  forming  a  very 
pale  but  rather  thin  varnish,  to  which  a  small  quantity  of  mastic 
may  be  added. 

Attempts  are  frequently  made  to  combine  copal  with  all  the 
spirit  varnishes,  in  order  to  give  them  greater  toughness  and  dura- 


FOR    FURNITURE    MRN.  63 

bility;  and  although  copal  cannot  be  entirely  dissolved,  even  in 
pure  alcohol,  still,  a  moderate  portion  will  be  taken  up  by  strong 
spirit  of  wine  when  a  temperature  of  about  120  °  is  employed 
with  frequent  agitation  of  the  varnish.  In  this  manner  a  liijht- 
colored  varnish  may  be  made  with  three-quarters  of  a  pound  of 
shell-lac,  three-quarters  of  a  pound  of  copal  to  one  gallon  of  spirit 
of  wine  containing  about  ninety-five  per  cent,  of  alcohol.  The 
copal  should  be  powdered  quite  fine,  and  may  either  be  added  to 
the  shell-lac  and  spirit  at  the  commencement,  in  which  case  the 
shell-lac  should  also  be  powdered,  or  the  shell-lac  may  be  first 
dissolved  and  the  powdered  copal  added ;  but,  in  either  case,  it  is 
only  the  more  soluble  portion  of  the  copal  that  is  taken  up,  and 
the  remainder  settles  to  the  bottom  in  a  viscid  mass,  from  which 
the  varnish  may  be  decanted  and  strained  for  use.  Copal  may  be 
added  in  the  same  manner  to  the  white  hard  varnishes,  and  it  is 
sometimes  recommended  to  fuse  the  copal  and  drop  it  into  water 
before  attempting  to  dissolve  it  in  spirit,  but  the  advantage  of 
adding  copal  to  spirit  varnishes  is  very  questionable. 

Lacker  for  Brass,  like  French  polish,  is  made  in  a  great 
variety  of  ways;  and,  as  in  French  polish,  the  simplest  and  best 
pale  lacker  for  works  that  do  not  require  to  be  colored,  consists  of 
shell-lac  and  spirit  of  wine  only,  in  the  proportions  of  about  half 
a  pound  of  the  best  pale  shell-lac  to  one  gallon  of  spirit.  Lacker 
is  required  to  be  as  clear  and  bright  as  possible ;  it  is,  therefore, 
always  made  without  heat  by  continuous  agitation  for  five  or  six 
hours.  The  lacker  is  then  allowed  to  stand  until  the  thicker  por- 
tions are  precipitated,  when  the  clear  lacker  is  poured  off,  and  if  it 
should  not  be  sufficiently  clear,  it  is  afterwards  filtered  through 
paper  into  a  bottle,  which  should  be  kept  closely  corked  and  out 
of  the  influence  of  light,  which  would  darken  the  color  of  the 
lacker.  This  may,  however,  be  easily  prevented  by  pasting  paper 
round  the  bottle. 

Colored  Lackers. — Lackers  ai-e  frequently  required  to  be 
colored,  either  of  yellow  or  red  tints.  For  yellow  tints,  turmeric, 
cape  aloes,  saftVon,  or  gamboge  are  employed ;  and  for  red  tints, 
annotto  and  dragon's-blood  are  used — the  proportions  being  varied 


64  PRACTICAL  HINTS 

according  to  the  color  required.  Thus,  for  a  pale  yellow,  about 
one  ounce  of  gamboge  and  two  ounces  of  cape  aloes  are  powdered 
and  mixed  with  one  pound  of  shell-lac.  For  a  full  vellow,  half  a 
pound  of  turmeric  and  two  ounces  of  gamboge,  and  for  a  red 
lacker,  half  a  pound  of  dragon's-blood  and  one  pound  of  annotto. 
The  color  is  also  modified  bj  that  of  the  lac  employed,  the  best 
pale  or  orange  shell-lac  being  used  for  light-colored  lackers,  and 
dark-colored  shell-lac  or  seed-lac  is  used  for  the  darker  tints. 
For  pale  lackers,  sandarac  is  sometimes  used  with  the  shell-lac. 
Thus  a  pale  gold-colored  lacker  is  made  with  eight  ounces  of 
shell-lac,  Iwo  ounces  of  sandarac,  eight  ounces  of  turmeric,  two 
ounces  of  annotto,  and  a  quarter  of  an  ounce  of  dragon's-blood 
to  one  gallon  of  spirit  of  wine. 

The  most  convenient  method,  however,  of  coloring  lackers,  is 
to  make  a  saturated  solution  in  spirit  of  wine  of  each  of  the  color- 
ing matters,  and  to  add  the  solutions  in  different  proportion  to  the 
pale  lacker  according  to  the  tint  required;  but  the  whole  of  the 
coloring  matters  are  not  generally  used  by  the  same  maktrs,  and 
solutions  of  turmeric,  gamboge,  and  dragon's-blood  aflbrd  suffi- 
cient choice  for  ordinary  pin-poses.  The  turmeric  gives  a  greenish 
yellow  tint,  and,  with  the  addition  of  a  little  gamboge,  is  the  col- 
oring matter  employed  in  making  the  so-called  green  lacker  used 
for  bronzed  works. 

Another  mode  of  making  lacker:  Four  ounces  of  shell-lac 
and  a  quarter  of  an  ounce  of  gamboge  are  dissolved  by  agitation, 
without  heat,  in  twenty-five  ounces  of  pure  pyro-acetic  ether. 
The  solution  is  allowed  to  stand  until  the  gummy  matters  not 
taken  up  bv  the  spiiit  subside ;  the  clear  liquor  is  then  decanted, 
and  when  required  for  use  is  mixed  with  eight  times  its  quantity 
of  spirit  of  wine.  In  this  case,  the  pyro-acetic  ether  is  employed 
for  dissolving  the  shell-lac,  in  order  to  prevent  any  but  the  purely 
rtbinous  portions  being  taken  up,  which  is  almost  certain  to  occur 
with  ordinary  spirit  of  wine,  owing  to  the  presence  of  water;  but 
if  the  lacker  were  made  entirely  with  pyro-acetic  ether,  the  latter 
would  evajiorate  too  rapidly  to  allow  time  for  it  to  be  equally 
applied. 

Mastic  \'arnish,  for  painting,  and  similar  purposes,  is  some- 


FOR    FURNITURE    MEN.  65 


times  made  in  small  quantities  with  spirit  of  wine;  but,  more 
generally,  oil  of  turpentine  is  employed  as  the  solvent,  the  pro- 
portion being  about  three  pounds  of  mastic  to  the  gallon  of  tur- 
pentine. For  the  best  varnish,  the  mastic  is  carefully  picked  and 
dissolved  by  agitation  without  heat,  exactly  as  for  the  best  white 
hard  varnish ;  after  the  mastic  varnish  has  been  strained  it  is 
poured  into  a  bottle,  which  is  loosely  corked  and  exposed  to  the 
sun  and  air  for  a  few  weeks;  this  causes  a  precipitation,  from 
which  the  clear  varnish  may  be  poured  off  for  use ;  but  the  longer 
the  varnish  is  kept  the  better  it  becomes. 

Mastic  varnish  works  very  freely,  but  it  is  liable  to  chill,  and 
the  surface  frequently  remams  tacky  for  some  time  after  the 
varnish  is  applied.  To  prevent  the  latter  evil,  it  is  recommended, 
before  dissolving  the  mastic,  to  bruise  it  slightly  with  a  muller, 
and  pick  out  all  the  pieces  that  are  too  soft  to  break  readily,  and 
which  maybe  used  for  common  varnish.  To  prevent  the  chilling, 
which  arises  from  the  presence  of  moisture,  Mr.  W.  Neil  recom- 
mends a  quart  of  river  sand  to  be  boiled  with  two  ounces  of  pear- 
lash  ;  the  sand  is  afterwards  to  be  washed  three  or  four  times  w  ith 
hot  water,  and  strained  each  time.  The  sand  is  then  to  be  dried 
in  an  oven,  and  when  it  is  of  a  good  heat,  half  a  pint  of  the  hot 
sand  is  to  be  poured  into  each  gallon  of  varnish,  and  shaken  well 
for  five  minutes;  it  is  then  allowed  to  settle,  and  carries  down  the 
moisture  of  the  gum  and  turpentine. 

In  making  common  varnish,  heat  is  generally  employed  to  dis- 
solve the  mastic,  and  about  one  pint  of  turpentine  varnish  is  added 
to  every  gallon  of  varnish. 

Turpentine  Varnish  is  made  with  four  pounds  of  common 
resin  dissolved  in  one  gallon  of  oil  of  turpentine.  It  requires  no 
other  preparation  than  sufficient  warmth  to  dissolve  the  resin. 
Sometimes  resin  and  turpentine  are  mixed  together  in  a  stone  or 
tin  bottle,  which  is  placed  near  the  fire,  or  in  a  sand-baih  over  a 
stove,  and  shaken  occasionally ;  but  varnisli-makers  generally 
mix  the  resin  and  turpentine  in  the  gum-pot,  and  employ  sufficient 
heat  to  fuse  the  resin.  This  is  a  more  expeditious  practice,  but  is 
attended  with  some  danger  of  fire.     When  a  very  pale  turpentine 


66  PRACTICAL    HINTS 

varnish  is  required,  bleached  resin  is  used,  and  care  is  taken  not 
to  employ  more  heat  than  is  necessary  in  making  the  varnish. 
Turpentine  varnisii  is  principally  used  for  in-door  painted  works 
and  common  painted  lurniture  and  toys.  It  is  also  frequently 
added  to  other  varnishes  to  give  them  greater  body,  hardness,  and 
brilliancy. 

Crystal  Varxish  is  a  name  frequently  given  to  ver}'  pale 
varnishes  employed  for  paper  works — such  as  maps,  colored 
paints,  and  drawings.  A  very  good  crystal  varnish  is  made  with 
two  pounds  of  mastic  and  two  pounds  of  damar,  dissohed  with- 
out heat  in  one  gallon  of  turpentine.  Another  good  but  more 
expensive  crystal  varnish  is  made  with  equal  quantities  of  Canada 
balsam  and  oil  of  turpentine.  In  making  this  varnish,  it  is  only 
necessary  to  warm  the  Canada  balsam  until  it  is  quite  fluid,  then 
add  the  turpentine  and  shake  the  mixture  for  a  lew  minutes  until 
the  two  are  thoroughly  incorporated.  The  varnish  may  then  be 
placed  in  a  moderately  warm  situation  for  a  few  hours,  and  will 
be  ready  for  use  on  the  tbllowing  day.  These  crystal  varnishes 
are  both  nearly  colorless,  flow  freely,  and  are  more  flexible,  so  as 
to  bear  bending  or  rolling,  and  either  of  them  may  be  employed 
to  make  a  tracing  paper  of  middling  quality,  by  applying  a  thin 
coat  of  varnish  on  one  or  both  sides  of  any  thin  transparent 
paper,  such  as  good  tissue  or  foreign  post  paper. 

Paper  Varnish,  for  paper  hangings  and  similar  purposes,  is 
made  with  four  pounds  of  damar  to  one  gallon  of  turpentine. 
The  damar  dissolves  very  readily  in  the  turpentine,  either  with 
moderate  agitation  or  a  very  gentle  heat.  Sometimes  white  or 
bleached  resin  is  used  instead  of  the  damar,  or  the  two  are  com- 
bined. 

"Water  Varnish. — All  the  varieties  of  lac  may  be  dissolved 
in  nearly  boiling  water  by  the  addition  of  ammonia,  borax,  potash, 
or  soda,  but  these  alkalies  all  have  the  eflect  of  rendering  the 
color  of  the  lac  much  darker.  The  solutions,  may,  however,  be 
employed  as  varnishes,  which  when  dried  will  resist  the  applica- 
tion of  water  sullicicntl}'  well  to  bear  washing,  especially  when 


FOR  FURNITURE  MEN.  67 

the  proportion  of  alkali  employed  is  only  just  sufficient  to  cause 
the  dissolution  of  the  lac,  and  which  is  also  desirable  in  order  to 
keep  the  \'arnish  as  light-colored  as  possible.  The  least  color  is 
given  with  diluted  water  of  ammonia,  in  the  proportions  of  about 
sixteen  ounces  of  ordinary  water  of  ammonia  to  seven  pints  of 
water  and  two  pounds  of  pale  shell-lac,  to  which  about  four  ounces 
of  gum  Arabic  may  be  added.  Borax  is,  however,  more  generally 
used,  and  the  proportions  are  then  two  pounds  of  shell-lac,  six 
ounces  of  borax,  and  four  ounces  of  gum  Arabic  to  one  gallon  of 
water.  When  the  varnish  is  required  to  be  as  light-colored  as 
possible,  while  lac  is  employed. 

Sealing-wax  Varnish,  for  coating  parts  of  electrical 
machines  and  similar  purposes,  is  made  by  dissolving  two  and  a 
half  pounds  of  good  red  sealing-wax  and  one  and  a  half  pound  of 
shell-lac  in  one  gallon  of  spirit  of  wine. 

Black  Varnish  may  be  made  with  three  pounds  of  black 
sealing-wax  and  one  pound  of  shell-lac  to  the  gallon  of  spirit,  or 
fine  lampblack  may  be  mixed  with  brown  hard  varnish  or  lacker, 
according  to  the  thickness  required  in  the  varnish.  The  interior 
of  telescope  tubes  are  frequently  blackened  with  a  dull  varnish  of 
this  kind,  made  by  mixing  lampblack  with  rather  thick  brass 
lacker,  as  little  of  the  lampblack  being  employed  as  will  serve  to 
deaden  the  bright  color  of  the  lacker.  Mathematical  instruments 
are  sometimes  blackened  with  a  similar  thin  varnish,  and  the  sur- 
face is  afterwards  brightened  with  one  or  two  coats  of  lacker 
applied  as  usual.  Ordinary  lampblack,  however,  generally  con- 
tains greasy  impurities  and  moisture,  which  render  it  unfit  for 
varnish  purposes,  and  therefore  the  best  kind  should  be  employed, 
or  the  lampblack  should  be  purified  by  ramming  it  hard  into  a 
close  vessel,  and  afterwards  subjecting  it  to  a  red  heat.  In  the 
workshop,  when  small  quantities  of  lampblack  are  required,  it  is 
frequently  inade  for  the  occcasion,  by  placing  a  piece  of  sheet 
metal  over  the  flame  ot  an  oil  lamp.  A  black  varnish,  sometimes 
used  for  metal  works,  is  made  by  fusing  three  pounds  of  Egyptian 
asphaltum,  and,  when  well  dissolved,  half  a  pound  of  shell-lac 
and  one  gallon  of  turpentine  are  added. 


68  PRACTICAL    HINTS 

Varnish  for  Iron. — Take  2  lbs.  pulverized  gum  asphaltum, 
^  lb.  gum  benzoin,  1  gallon  spirits  of  turpentine.  To  make  this 
varnish  quickly,  keep  in  a  warm  place  and  shake  often  till  it  is 
dissolved.  Shade  to  suit  with  finely  ground  ivory  black.  Apply 
with  a  brush.  This  varnish  should  be  used  on  iron  work,  exposed 
to  the  weather.  It  is  also  well  adapted  for  inside  work,  s-ich  as 
iron    furniture,  w-here  a  handsome  polish  is  desired. 

Varnish  for  Cane  and  Basket-work. — Lac,  prepared  after 
the  following  recipe  is  used  to  cover  split  and  colored  cane:  25grs. 
of  good  linseed  oil  are  heated  in  a  sand-bath,  as  long  as  a  drop  of 
it,  poured  on  a  cold  stove,  does  not  run  when  the  stone  is  inclined, 
and  when  touched  with  the  finger  it  feels  thready.  Then  is 
added  first  in  small  portions,  1  lb.  fat  copal  varnish,  and  the  vessel 
wherein  the  copal  varnish  is  heated  must  be  large,  because  by  the 
addition  of  the  linseed  oil,  a  great  deal  of  frothing  takes  place. 
When  cold,  the  required  consistence  is  given  to  the  varnish  by 
mixing  it  with  turpentine  oil.  It  soon  dries,  preserves  a  sufficient 
elascity,  and  may  be  applied  with  or  without  addition  of  colors. 


POLISH   REVIVERS  &C. 


French  Polish  Reviver. — Half  pint  linseed  oil,  1  oz.  spirits 
of  camphor,  2  ozs.  vinegar,  ^  oz.  of  butter  of  antimony,  34^  oz. 
of  spirts  of  hartshorn. 

Another. — One  lb.  of  naptha,  4  oz.  of  shellac,  ^  oz.  oxalic  acid. 
Let  it  stand  till  dissolved,  and  add  3  oz.  linseed  oil. 

Furniture  Reviver. — Pale  linseed  oil,  raw,  10  oz. ;  lac  varnish 
and  wood  spirits,  of  each  5  oz.     Mix  well  before  using. 

Furniture  Cream. — 1.  Cut  in  small  pieces  a  quarter  of  a 
pound  of  vellow  wax,  and,  after  melting  it,  add  an  ounce  of  well 
powdered  colophony,  which  is  a  black  resin  or  turpentine  boiled  in 
water,  and  afterwards  dried.  The  wax  and  colophony  being  both 
melted,  pour  in,  by  degrees,  quite  warm,  two  ounces  of  oil  of 
spirit  of  turpentine.  When  the  whole  is  thoroughly  mixed,  pour 
it  into  a  tin  or  earthen  pot,  and  keep  it  covered  for  use.  The 
method  of  applying  it  to  the  furniture,  which  must  be  first  well 
dusted  and  cleaned,  is  by  spreading  a  little  of  this  composition  on 
a  piece  of  woolen  cloth,  and  well  rubbing  the  wood  with  it,  and  in 
a  few  days  the  gloss  will  be  as  firm  and  fast  as  varnish. 

2.  One  quarter  lb.  of  beeswax  melted  in  an  earthenware  pot; 
add  gradually  ^  pint  tuipentine,  colored  with  ^  oz.  alkanet  root; 
add  ^  pt.  linseed  oil ;  mix  well.  Should  be  kept  in  wide-mouthed 
bottles  for  use.  Note. — This  cream  should  not  be  used  on  newly 
polished  furniture. 

Furniture  Paste. — If  it  is  required  to  keep  the  wood  its  nat- 
ural color,  scrape  a  quarter  of  a  pound  of  beeswax  into  half  a  pint 
of  turpentine.     Linseed  oil  will  darken  the  wood. 

Six  ounces  of  pearlash  in  a  quarter  of  a  pound  of   white  wax 


70  PRACTICAL    HINTS 

and  simmer  for  half  an  hour  in  a  pipkin.  When  cool  the  wax 
will  float  on  the  top,  which  must  be  taken  off,  and  with  hot  water 
worked  into  a  paste. 

Equal  parts  of  beeswax,  spirits  of  turpentine,  and  linseed  oil. 
Melt  well  together. 

Four  ounces  of  beeswax,  ten  ounces  of  turpentine,  alkanet  root 
to  color.     Melt  together  and  strain. 

To  Make  Furniturk  Paste. — Scrape  two  ounces  of  bees- 
wax into  a  pot  or  basin;  then  add  as  much  spirits  of  turpentine  as 
will  moisten  it  through.  At  the  same  time,  powder  an  eight  part 
of  an  ounce  of  resin,  and  add  it,  when  dissolved  to  the  consistence 
of  paste,  as  much  Indian  red  as  will  bring  it  to  a  deep  mahogany 
color.     Stir  it  up,  and  it  will  be  fit  for  use. 

Several  Receipts  for  Furniture  Cream. — Yellow  wax, 
■1  oz. ;  yellow  soap,  2  oz. ;  water  50  oz.;  boil,  with  constant  s'irring, 
and  add  boiled  oil  and  oil  of  turpentine,  each  5  oz. 

Soft  water,  1  gallon  ;  soap,  4  oz. ;  white  wax,  in  shavings,  1  lb. 
Boil  together,  and  add  2  oz.  pearlash.  To  be  diluted  with  water, 
laid  on  with  a  paint  brush,  and  polished  off  with  a  hard  brush  or 
cloth. 

Wax, 3  oz.;  pearlash,  2  oz. ;  water,  6  oz.  Heat  together,  and  add 
4  oz.  boiled  oil  and  5  oz.  of  spirits  of  turpentine. 

Pearlash,  1  oz. ;  water,  8  oz. ;  beeswax  (genuine)  6  oz.,  mix  with 
heat,  and  add  sufficient  water  to  reduce  it  to  the  consistency  of 
cream ;  for  use  add  more  water,  and  spread  it  on  the  wood  with  a 
painter's  brush,  let  it  dry,  and  polish  with  a  hard  brush  or  cloth. 

Beeswax,  3  oz. ;  pearlash,  2  oz.;  water, 6  oz. ;  mix  with  heat,  and 
add  boiled  oil,  4  oz. ;  turpentine  (oil)  5  oz. ;  mix. 

White  Furniture  Cream. — With  the  following  receipt  the 
vinegar  must  be  mixed  with  the  linseed  oil  by  degrees,  and  the 
bottle  well  shaken  up.  The  spirit  of  antimony  must  afterwards  be 
added,  and  well  mixed.  Six  ounces  of  raw  linseed  oil,  three  ozs. 
methylated  spirit,  three  ozs.  white  wine  vinegar,  lialf  an  ounce  of 
butter  of  antimonv. 


FOR    FURNITURE    MEN.  71 


FURNITURE   POLISH 

AN  IMPORTANT  FACT. 


It  IS  an  undeniable  fact  that  a  g-ood  furniture  polish  is  demanded  by  the 
trade,  and  for  household  use.  Furniture  by  standing-  in  warerooms  becomes 
dusty,  dirty,  and  lustreless;  the  dealer  must  have  something-  with  which  to 
polish  it  up  and  make  it  attractive.  Of  course  all  furniture  dealers  have  some- 
thing for  this  purpose,  but  it  is  well  known  that  almost  all  the  preparations  used 
for  this  purpose  produce  only  temporary'  relief,  so  that  the  furniture  quickly 
relapses  into  a  faded,  second-hand  appearance,  greatly  to  the  distress  of  the 
housekeeper  and  the  injury  of  the  reputation  of  the  dealer.  In  households,  and 
particularly  in  hotels,  A  really  good  furniture  polish  would  come  in  almost 
constant  use.  The  kind  of  a  polish  that  is  wanted,  and  that  is  an  actual  necessity, 
must  combine  the  following  qualities: 

First.  It  must  be  made  of  pure  gum,  then  it  will  have  a  g-ood  body,  thor- 
oughly cover  up  scratches,  bruises  and  stains,  and  impart  a  body  that  will  last. 

Second.  It  must  s:ive  a  fine  lustre  which  will  make  the  furniture  handsome 
and  attractive. 

Third.  It  must  dry  quickly,  so  that  the  articles  to  which  it  is  applied  may 
be  handled  without  delaj'. 

Fourth.  It  must  be  pat  up  in  convenient  shape  for  use  by  the  dealer,  and 
for  households  and  hotels,  particular  care  being  taken  not  to  have  the  bottles  too 
large,  else  the  gum  will  settle  to  the  bottom,  and  only  the  lighter  ingredients  be 
used  from  the  top. 

Such  a  polish  dealers  could  sell  in  large  quantities  and  make  considerable 
money  on  it,  and  such  a  polish  will  be  found  in  the  "  Can't  be  Beat  "  Furniture 
Polish,  manufactured  by  H.  E.  Taylor  &  Co.,  i6i  and  163  Bowery,  New  York. 
It  has  been  tested  for  twenty  years,  and  is  now  in  use  by  thousands  of  dealers. 
Pamphlets,  testimonials,  terms,  etc.,  may  be  had  by  addressing-  the  above  firm. 
Undertakers  throughout  the  world  will  study  their  own  interests  by 

HAVING  their  NAMES  ON  THE  REGISTER  OF 

H.  E.  TAYl^OR  &  CO. 

(Secret  Information  oiven  to  Undertakers.) 


GLUE. 


Glue. — Glue  is  prepared  from  waste  pieces  of  skin,  horns,  hoofs, 
and  other  animal  oft'al.  These  are  steeped,  washed,  boiled,  strained, 
melted,  reboiled  and  cast  into  square  cakes,  which  are  then  dried. 
The  strongest  kind  of  glue  is  made  from  the  hides  of  oxen;  that 
from  the  bones  and  sinews  is  weaker.  The  older  the  animal,  the 
stronger  the  glue.  Good  glue  should  be  hard  in  the  cake,  of  a 
strong,  dark  color  almost  transparent,  free  from  black  or  cloudy 
spots,  and  with  little  or  no  smell.  The  best  sorts  are  transparent 
and  of  a  clear  amber  color.  Inferior  kinds  are  sometimes  contam- 
inated with  the  lime  used  for  removing  the  hair  from  liie  skins  of 
which  they  are  made.  The  best  glue  swells  considerably  (the 
more  the  better)  when  immersed  in  cold  water,  but  does  not  dis- 
solve, and  returns  to  its  former  size  when  dry.  Inferior  glue  made 
from  bones,  will,  however,  dissolve  almost  entirely  in  cold  water. 

To  Prepare  Glue. — To  prepare  glue  for  use  it  should  be 
broken  up  into  small  pieces,  and  soaked  in  as  much  cold  water  as 
will  cover  it,  for  about  twelve  hours.  It  should  then  be  melted  in 
a  double  glue  pot,  covered  to  keep  the  glue  from  dirt.  Care  must 
be  taken  to  keep  the  outer  vessel  full  of  water  so  that  the  glue 
shall  not  burn,  or  be  brought  to  a  temperature  higher  than  that  of 
boiling  water.  The  glue  is  allowed  to  simmer  for  two  or  three 
hours,  then  gradually  melted,  so  much  hot  water  being  added  as 
will  make  it  liquid  enough,  just  to  run  off  a  brush  in  a  continuous 
stream,  without  breaking  into  drops.  When  the  glue  is  done  with, 
some  boiling  water  should  be  added  to  make  it  very  thin  before  it 
is  put  away.  Freshly  made  glue  is  stronger  than  that  which  has 
been  repeatedly  melted.  Too  large  a  quantity  should  not  therefore 
be  made  at  a  time.  Glue  may  be  freed  from  the  foreign  animal 
matter  generally  in  it  by  softening  it  in  cold  water,  washing  it 
with  the  same  several  times  till  it  no  longer  gives  out  any  color, 


FOR    FURNITURE    MKN.  YS 

then  bruising  it  witli  the  hand,  and  suspending  it  in  a  linen  bag 
beneath  the  surface  of  a  large  quantity  of  water  at  06  °  Falir. 
By  doing  this  the  pure  glue  is  retained  in  the  bag,  and  the  soluble 
impurities  pass  through.  If  the  softened  glue  be  heated  to  122'^ 
without  water,  and  filtered,  some  other  impmities  will  be  retained 
by  the  filter,  and  a  colorless  solution  of  glue  be  obtained. 

The  addition  of  a  little  bichromate  of  potash  will  render  glue 
impervious  to  moisture  after  exposing  to  the  light,  and  a  small 
quantity'  of  methylated  spirits  will  greatly  improve  its  keeping 
qualities. 

Mixing  Glue. — A  minimum  amount  of  glue  should  be  used  in 
good  work,  and  it  should  be  applied  as  hot  as  possible.  The  sur- 
faces of  the  wood  to  be  united  should  be  clean,  dry  and  true :  they 
should  be  brought  together  as  tightly  as  possible,  so  that  the 
superfluous  glue  is  squeezed  out.  The  cohesion  of  a  piece  of  solid 
glue,  or  the  force  required  to  separate  one  square  inch,  is  four 
thousand  pounds.  The  strength  of  common  glue  for  coarse  work 
is  increased  by  the  addition  of  a  little  powdered  chalk.  The  hot- 
ter the  glue,'the  greater  its  cohesion;  therefort  in  all  large  and 
long  joints  the  glue  should  be  applied  immediately  after  boiling. 
Glue  loses  much  of  its  strength  by  frequent  re-melting;  that  glue 
therefore,  which  is  newly  made,  is  much  preferable  to  that  which 
has  been  re-boiled. 

Glue-Pot. — A  glue-pot  recently  perfected  consists  of  a  circular 
kerosene  lamp,  made  of  tin,  resting  upon  a  tin  bottom  8  /i  inches 
in  diameter.  The  lamp  is  fitted  with  a  tin  chimney  in  place  of 
glass,  and  fitted  with  a  small  aperture,  covered  with  mica,  so  as  to 
see  how  to  regulate  the  flame.  The  glue  pot  is  made  of  copper, 
tinned  on  the  inside  and  supported  upon  a  rim  setting  up  about  six 
inches  from  the  bottom  of  the  lamp,  the  rim  supported  by  three 
legs,  soldered  and  riveted  to  the  rim  and  bottom  of  lamp  rest. 
The  pot  in  which  the  bottom  is  placed  has  a  portion  of  the  bottom 
arched,  to  give  more  heating  surface,  and  connecting  with  the 
chamber  under  the  pot  is  a  flue,  passing  out  and  up  alongside  of 
the  pot  which  carries  off  any  smoke  from  the  lamp,  and  also  acts 
as  a  draft  to  the  flame.     This  pot  is   five  inches   in   diameter,  and 


74  PRACTICAL    HINTS 


about  six  inches  high.  The  pot  for  the  reception  of  the  ghie  is 
set  in  the  same  as  an  ordinary  glue  pot,  and  will  hold  about  a 
quart  of  glue.  The  whole  can  be  carried  to  any  place  where  you 
wish  to  use  it,  and  still  have  the  heat  kept  up.  The  cost  of  oil  is 
but  a  few  cents  a  week. 

Another  improvement  is  in  the  pot  being  of  copper,  tinned.  It 
will  not  corrode  and  spoil  the  glue,  as  is  the  case  with  iron. 

French  cabinet-makers  use  a  glue-pot  with  an  inside  pan  m.ide 
of  glazed  earthenware  and  divided  radially  into  three  divisions,  in 
one  of  which  is  kept  strong  glue,  in  another  weaker,  and  in  the 
third  water  only,  with  a  brush  or  piece  of  sponge  for  cleaning  off 
superfluous  glue  from  the  work. 

A  few  holes  bored  near  the  top  of  the  inner  vessel  of  a  glucpot, 
by  admitting  steam  from  the  outer  vessel  will  prevent  the  glue 
from  solidifying  on  the  side.  The}-  need  not  be  bored  round  the 
whole  circumference  of  the  pot,  to  allow  of  pouring  out  the  glue 
if  necessary. 

To  Prevent  Glue  Cracking. — Glue  frequently  cracks 
because  of  the  dryness  of  the  air  in  rooms  warmed  by  stoves. 
The  addition  of  chloride  of  calcium  to  glue  will  prevent  this  disa- 
greeable property  of  cracking.  Chloride  of  calcium  is  such  a 
deliquescent  salt  that  it  attracts  enough  moisture  to  prevent  the 
glue  from  cracking.  Glue  thus  prepared  will  adhere  to  glass, 
metal,  etc.,  and  can  be  used  for  putting  on  labels  witliout  danger  of 
their  dropping  off. 

Strong  Glue  to  Resist  Moisture. — Dissolve  gum-sandarac 
and  mastic,  of  each  a  quarter  of  an  ounce,  in  a  quarter  of  a  pint  of 
spirits  of  wine,  to  which  add  a  quarter  of  an  ounce  of  clear  tur- 
pentine: now  take  strong  glue,  or  that  in  which  isinglass  has  been 
dissolved;  then, putting  tlie  gums  into  a  double  glue-pot,  add  by 
degrees  the  glue,  constantly  stirring  it  over  tiie  Are  till  the  whole 
is  well  incorporated:  strain  it  through  a  cloth,  and  it  is  ready  for 
use.  You  may  now  return  it  to  the  glue-pot,  and  add  half  an 
ounce  of  very  finely-powdered  glass;  use  it  quite  hot.  If  you 
join  two  pieces  of  wood  together  with  it,  you  may,  when  perfectly 
hard  and  dry,  immerse  it  in  water,  and  the  joint  will  not  separate. 


FOR    FURNITURE    MEN.  75 

Glue  to  Rksist  Moisture. — To  two  quarts  of  skimmed  milk 
add  half  a  pound  of  the  best  glue;  melt  them  together,  taking  care 
thej  do  not  boil  over,  and  you  will  have  a  very  strong  glue,  which 
will  resist  damp  or  moisture. 

Portable  Glue. — Boil  one  pound  of  the  best  glue,strain  it  very 
clear;  boil  also  four  ounces  of  isinglass;  put  it  into  a  double  glue- 
pot,  with  half  a  pound  of  fine  brown  sugar,  and  boil  it  pretty 
thick;  then  pour  it  into  plates  or  moulds.  When  cold  you  may 
cut  and  dry  them  for  the  pocket. 

This  glue  is  very  useful  to  draughtsmen,  architects,  etc.,  as  it 
immediately  dilutes  in  warm  water,  and  fastens  the  paper  without 
the  process  of  dampening:  or,  it  may  be  used  by  softening  it  in 
the  mouth,  and  applying  it  to  the  paper. 


MISCELLANEOUS  RECEIPTS. 


To  Raise  Old  Veneers. — First,  wash  the  surface  with  boiling 
water,  and,  with  a  coarse  cloth,  remove  dirt  or  grease ;  then  place 
it  before  the  fire,  or  heat  it  with  a  caul ;  oil  its  surface  with  common 
linseed  oil,  place  it  again  to  the  fire,  and  the  heat  will  make  the  oil 
penetrate  quite  through  the  veneer,  and  soften  the  glue  underneath ; 
then,  while  hot,  raise  the  edge  gently  with  a  chisel,  and  it  will  sep- 
arate coinplelely  from  the  ground :  be  careful  not  to  use  too  great 
force,  or  the  work  will  be  spoiled.  Again,  if  it  should  get  cold 
during  the  operation,  apply  more  oil,  and  heat  it  again.  Repeat 
this  process  till  the  veneer  is  entirely  separated,  then  wash  oft'  the 
old  glue  and  proceed  to  lay  it  again  as  a  new  veneer. 

To  Take  out  Bruises  in  Furniture. — Wet  the  part  with 
warm  water;  double  a  piece  of  brown  paper  five  or  six  times,  soak 
it,  and  lay  it  on  the  place;  apply  on  that  a  hot  flat-iron  till  the 
moisture  is  evaporated.  If  the  bruise  be  not  gone,  repeat  the  pro- 
cess. After  two  or  three  applications,  the  dent  or  bruise  will  be 
raised  level  with  the  surface.  If  the  bruise  be  small,  merely  soak 
it  with  warm  water, and  apply  a  red-hot  poker  very  near  the  sur 
face;  keep  it  continually  wet,  and  in  a  few  minutes  the  bruise  will 
disappear. 

To  Make  Paste  for  Laying  Cloth  or  Leather. — To  a 
pint  of  the  best  wheaten  flour  add  resin,  very  finely  powdered, 
about  two  large  spoonfuls;  of  alum,  one  spoonful,  in  powder;  mix 
them  all  well  together,  put  them  into  a  pan,  and  add  by  degrees 
soft  or  rain  water,  carefully  stirring  it  till  it  is  of  the  consistence 
of  thinnish  cream ;  put  it  into  a  saucepan  over  a  clear  fire,  keeping 
it  constantly  stirred,  that  it  may  not  get  lumpy.  When  it  is  of  a 
stift"  consistence,  so   that   the  spoon  w  ill   stand  upright  in  it,  it  is 


FOR    FURNITURE    MEN.  77 

done  enough.  Be  careful  to  stir  it  well  from  the  bottom,  for  it  will 
burn  if  not  well  attended  to.  Empty  it  out  into  a  pan  and  cover 
it  over  till  cold,  to  prevent  a  skin  forming  on  the  top,  which  would 
make  it  lumpy. 

This  paste  is  very  superior  for  the  purpose,and  adhesive.  To  use 
it  for  cloth  or  baize,  spread  the  paste  evenly  and  smoothly  on  the 
top  of  ihe  table,  and  lay  the  cloth  on  it,  pressing  and  smoothing  it 
with  a  flat  piece  of  wood;  let  it  remain  till  dry;  then  trim  the 
edges  close  to  the  cross-banding.  If  you  cut  it  close  at  first,  it 
will,  in  drying,  shrink  and  look  bad  where  it  meets  the  banding 
all  round.  If  used  for  leather,  the  leather  must  be  first  previously 
damped,  and  then  the  paste  spread  over  it;  then  lav  it  on  the  table, 
and  rub  it  smooth  and  level  with  a  linen  cloth,  and  cut  the  edges 
close  to  the  banding  with  a  short  knife.  Some  lay  their  table- 
cover  with  glue  instead  of  paste,  and  for  cloth  perhaps  it  is  the 
best  method;  but  for  leather  it  is  not  proper,  as  glue  is  apt  to  run 
through.  In  using  it  for  cloth,  great  care  must  be  taken  that  the 
glue  be  not  too  thin,  and  that  the  cloth  be  well  rubbed  down  with 
a  thick  piece  of  wood  made  hot  at  the  fire,  for  the  glue  soon  chills. 
By  this  method,  the  edges  may  be  cut  off  close  to  the  border  at 
once. 

Cements  for  Stopping  Flaw.s  in  Wood. — Put  any  quantity 
of  fine  sawdust  of  the  same  wood  your  work  is  made  with  into  an 
earthen-pan,  and  pour  boiling  water  on  it,  stir  it  well,  and  let  it 
remain  for  a  week  or  ten  days,  occasionally  stirring  it;  then 
boil  it  for  some  time,  and  it  will  be  of  the  consistence  of 
pulp  or  paste;  put  it  into  a  coarse  cloth,  and  squeeze  all  the  mois- 
ture from  it.  Keep  for  use,  and,  when  wanted,  mix  a  sufficient 
quantity  of  thin  glue  to  make  it  into  a  paste;  rub  it  well  into  the 
cracks,  or  fill  up  the  holes  in  your  work  with  it.  When  quite 
hard  and  dry,  clean  your  work  oft",  and,  if  carefully  done,  you  will 
scarcely  discern  the  imperfection. 

Mahogany-Colored  Cement. — Melt  two  ounces  of  beeswax 
and  half  an  ounce  of  Indian  red,  and  a  small  quantity  of  yellow 
ochre,  to  bring  the  cement  to  the  desired  color;  keep  it  in  a  pipkin 
for  use. 


PRACTICAL    HINTS 


Cement  for  Turners. — Melt  together  beeswax  one  ounce, 
resin  half  an  ounce, and  pitch  half  an  ounce;  stir  in  the  mixture 
some  very  fine  brickdust  to  give  it  a  body.  If  too  soft,  add  more 
resin;  if  too  hard,  more  wax.  When  nearly  cold,  make  it  up  into 
cakes  or  rolls,  which  keep  for  use. 

This  will  be  found  very  useful  for  fastening  any  piece  of  wood 
on  the  chuck,  which  is  done  by  applying  the  roller  of  cement 
to  the  chuck  and  it  will  adhere  with  sufficient  force. 

Tracing  Paper. — A  good  firm  tissue  paper  washed  with  a 
mixture  of  six  parts  spirits  of  wine,  one  of  resin,  one  of  nut  oil. 
Apply  with  a  sponge. 

Tracing  Paper. — Canada  balsam  and  turpentine  equal  parts, 
will  make  a  varnish  which,  if  applied  to  one  side  of  a  good  thin 
paper,  will  answer  well.  If  it  is  meant  to  take  watercolor,  a  coat 
of  ox  gall  must  be  laid  on. 

Tracing  Paper. — Dissolve  a  piece  of  white  beeswax,  about  the 
size  of  a  walnut,  in  half  a  pint  of  spirits  of  turpentine;  then,  hav- 
ing procured  some  very  fine  white,  woven  tissue-paper,  lay  it  on  a 
clean  board,  and,  with  a  soft  brush  dipped  in  this  liquid,  go  over 
one  side,  and  then  turn  it  over,  and  apply  it  to  the  other ;  hang  it 
up  in  a  place  free  from  dust,  to  dry.  It  will  be  ready  for  use  in  a 
few  days.  Some  add  a  small  quantity  of  resin,  or  use  resin  instead 
of  wax. 

Mounted  Tr.\cings. — Tightly  strain  across  an  old  drawing- 
board,  by  means  of  tacks  slightly  driven,  a  piece  of  cotton  toler- 
ably good  quality,  but  do  not  damp  it,  except  with  paste,  as  here- 
after mentioned.  Work  the  last  in  well  with  a  painter's  brush 
that  has  not  been  used  for  any  other  purpose.  It  is  advisable  to 
soak  the  brush,  before  using,  for  a  few  hours  in  cold  water,  so  as, 
by  expansion  of  the  handle  and  constriction  of  the  cordage,  to 
tighten  the  hairs,  and  prevent  them  coming  out  with  the  paste. 
Paste  also  the  back  of  the  tracing,  and,  obtaining  the  assistance  of 
another  person,  hold  it  by  the  corners  over  the  strained  fabric, 
allowing  it  to  sag  well,  and  lower  it  gently  until  the  middle  of  the 
tracing  first  come  into  contact  with  the  calico,  after  which  gently 


FOR    FURNITURE    MEN.  Y9 

and  simultaneously  lay  down  each  corner.     The  tracing  maj'  now 

be  gently  dabbed  with  a  clean  cloth,  commencing  at  the  middle, 
and  working  out  the  blisters  to  the  edge.  A  needle  may  some- 
times be  used  with  advantage  to  puncture  small  holes  and  set  free 
the  air  in  some  of  the  obstinate  blisters;  but  do  not  trouble  to 
remove  them  all,  as  the  smaller  ones  will  quite  disappear  in  drying. 
Do  not  rub  the  tracing  whilst  wet  without  the  intervention  of  a 
sheet  of  large  thin  lining  paper,  such  as  is  used  for  lining  walls. 
Allow  the  tracing  to  dry  gradually  on  the  board  without  fire  heat, 
and  do  not  remove  it  until  thoroughly  dry.  Draw  on  the  scale 
before  mounting,  so  that  it  may,  by  contracting  and  expanding 
with  the  drawing,  be  always  true.  The  tracing,  when  mounted, 
presents  a  better  surface  for  coloring  than  before.  The  board 
should  be  cleaned  before  using. 

Cracks  in  Drawing  Boards. — The  material  generally  used 
in  stopping  the  above  is  a  composition  made  of  glue  and  chalk, 
worked  up  to  the  consistency  of  putty,  and  applied  to  the  board  in 
a  soft  state,  allowed  to  dry,  and  smoothed  oft"  with  sand-paper. 

To  Temper  Tools. — The  quality  of  the  steel  should  be  uni- 
form throughout;  indeed,  it  is  always  better  to  have  them  tem- 
pered rather  too  hard  than  soft,  for  use  will  reduce  the  temper.  If 
at  any  time  it  is  necessary  to  perform  the  operation  yourself,  the 
best  method  is  to  melt  a  sufficient  quantity  of  lead  to  immerse  the 
cutting  part  of  the  tool  in.  Having  previously  brightened  its  sur- 
face, plunge  in  into  the  melted  lead  for  a  few  minutes,  till  it  gets 
sufficiently  hot  to  melt  a  candle,  with  which  rub  its  surface;  then 
plunge  it  in  again,  and  keep  it  there  till  the  steel  assumes  a  straw 
colour;  but  be  careful  not  to  let  it  turn  blue.  When  that  is  the 
case,  take  it  out,  rub  it  again  with  the  tallow,  and  let  it  cool.  If 
it  should  be  too  soft,  wipe  the  grease  oft",  repeat  the  process  with- 
out the  tallow ;  and,  when  it  is  sufficiently  hot,  plunge  it  into  cold 
spring-v  ater,  or  water  and  vinegar  mixed.  By  a  proper  attention 
to  these  directions,  and  a  little  practice,  every  workman  will  have 
it  in  his  power  to  give  a  proper  temper  to  the  tools  he  may  use. 
If  a  saw  is  too  hard,  it  may  be  tempered  by  the  same  means;  but 
as  it  would  be  not  only  expensive,  but  in   many  cases,  impossible 


80  PRACTICAL  HINTS 


to  do  it  at  home,  a  plumber's  shop  is  mostly  at  hand,  where  the 
process  may  be  repeated  %yhen  they  are  melting  a  pot  of  lead. 
But  here  obserye  that  the  temper  necessary  is  different  to  other 
cutting  tools:  you  must  wait  till  the  steel  just  begins  to  turn  blue, 
Ayhich  is  a  temper  that  \yin  giye  it  more  elasticity,  and,  at  the 
same  time,  sufficient  hardness. 

Hardening  Tools.  —  A  communication  to  the  Etigltsh 
Mechanic,  says:  "  Mercury  is  the  best  liquid  for  hardening  steel 
cutting  tools.  The  best  steel,  \yhen  forged  into  shape  and  hard- 
ened in  mercury,  %yill  cut  almost  anything.  I  have  seen  articles 
made  from  ordinary  steel  which  have  been  hardened  and  tempered 
to  a  deep  straw  color,  turned  with  comparative  ease  with  cutting 
tools  from  good  tool  steel,  hardened  in  mercury." 

To  Cut  Good  Steel  Scrapers. — Part  of  the  blade  of  a 
broken  saw  makes  the  best  scrapers ;  but,  as  it  is  hard,  it  is  very 
difficult  to  cut  it  into  the  required  form.  The  best  and  most  expe 
ditious  \vay  is  to  mark  it  out  to  the  size  wanted,  and  then  to  place 
the  blade  or  steel  plate  in  a  vice  whose  chaps  shut  very  close,  plac- 
ing the  mark  even  with  the  face  of  the  vice,  and  the  part  to  be 
cut  to  \vaste  above  the  vice.  Then  with  a  cold-chisel,  or  a  com- 
mon steel-firmer  that  has  its  basil  broken  off,  holding  it  close  to 
the  vice  and  rather  inclined  upwards,  begin  at  one  end  of  the  steel 
plate,  and  with  a  sharp  blow  of  the  hammer  it  will  cut  it.  Keep 
going  on  by  degrees,  and  you  will  with  ease  cut  it  to  the  shape 
required;  then  grind  the  edges  of  your  scraper  level,  and  finish  by 
rubbing  it  on  your  Turkey-stone. 

To  Remedy  Splits  in    Circular    Saws. — Three   methods. 

Drill  a  small  hole  in  the  saw  at  the  bottom  of  the  split. 

Drill  six  holes  about  ^  in.  in  diameter,  along  the  line  of  the 
crack,  taking  cart  that  one  of  them  falls  just  inside  it;  counter- 
sink the  five  outer  holes  on  both  sides,  and  rivet  nicely  up  with 
hot  rivets  slightly  less  in  diameter  than  the  holes. 

Cut  a  series  of  dovetails  across  the  split,  and  insert  therein  cop- 
per dovetail^,  which  must  be  riveted  tight  by  hammering  on  each 


FOR    FURNITURE    MEN.  81 


side.  The  edges  ol  the  holes  must  be  filed  to  an  acute  angle 
from  each  side  of  the  saw,  half  the  thickness  of  it,  and  the  copper 
dovetail  pieces  must  not  be  quite  long  enough  to  fill  the  hole,  but 
must  fit  in  width  exactl}',  and  of  course  must  be  well  annealed, 
and  considerably  thicker  than  the  saw.  When  riveted,  file  off  level 
with  saw. 

Brazing  Band  Saws. — Good  brass,  rich  in  copper  is  generally 
used.  Bring  the  two  ends  of  tlie  saw  close  together  and  fasten, 
then  take  a  small  pan  of  charcoal,  and  place  it  imder  the  ends  and 
direct  the  flame  of  a  blowpipe  on  it.  As  the  ends  will  soon 
become  red-hot  sprinkle  some  powdered  borax  upon  them  and 
add  the  solder  with  a  piece  of  iron.  The  way  to  make  the  solder 
melt;  cast  in  ingot  and  file  away;  collect  the  filings,  and  put  into 
solution  of  sal  ammoniac  in  water,  and  so  keep  until  wanted. 

Saw  Sharpening. — To  sharpen  the  saw,  take  a  triangular  file, 
three-square  file  it  is  called,  the  handle  in  the  right  hand,  the 
point  of  the  file  between  the  thumb  and  torefinger  of  the  left 
hand,  apply  it  to  the  front  of  the  first  tooth  that  leans  away  from 
the  operator.  Let  the  point  of  the  file  incline  towards  the  point 
of  the  saw,  give  three  or  four  or  more  rubs  of  the  file,  and  the 
point  of  the  tooth  will  be  sharpened,  and  the  front  brought  to  a 
sharp  edge,  and  as  the  file  will  have  passed  over  the  top  of  the 
next  tooth  it  also  will  be  filed  down,  and  the  point  partly 
sharpened. 

Now  apply  the  file  to  the  front  of  this  tooth;  it  leans  towards 
the  operator,  so  the  point  of  the  file  must  incline  towards  the 
handle  of  the  saw.  Give,  as  before,  three  or  four  rubs,  according 
to  the  state  of  the  saw,  and  the  point  ot  this  tooth  will  also  be 
sharpened,  and  its  front  brought  to  a  sharp,  cutting  edge.  Go  on 
in  this  was  alternately,  always  remembering  that  when  the  tooth 
leans  away  from  the  operator  the  point  of  the  file  must  incline  to 
the  point  of  the  saw,  and  when  the  tooth  leans  towards  the  opera- 
tor, then  it  must  incline  towards  the  handle  of  the  saw. 

If  the  saw  has  been  sharpened  before,  it  will  be  advisable  to  first 
run  the  file  along  the  top  of  the  teeth,  to  bring  them  all  to  a  level. 

Oiling  Tools. — An  English  authority  says:     When  a  set  of 
6 


82  PRACTICAL    HINTS 

bench-planes  is  French-polished,  they  certainly  look  very  well  on 
the  bench  for  a  short  time,  but  the  French-polish  does  not  add  to 
their  durability  or  usefulness,  and  I  think,  gives  them  anything 
but  a  workmanlike  appearance.  My  plan  is  to  knock  the  irons 
out,  weigh  them,  and  then  drop  them  into  the  linseed  oil  barrel, 
and  let  ihem  stay  there  a  week ;  I  then  take  and  weigh  them 
again  to  ascertain  how  much  oil  they  have  absorbed.  The  oil 
goes  right  to  the  heart  of  the  planes,  and  as  it  sets  it  makes  them 
hard,  and  they  may  be  depended  upon  for  keejiing  their  shape. 
Rubbing  them  over  every  dinner-hour  for  a  Aveek  or  two  will 
give  them  a  beautiful  surface,  and  they  will  not  show  scratches  or 
dints  as  they  would  if  they  were  French-polished. 

To  Mark  Tools. — Coat  over  the  tools  with  a  thin  layer  of  wax 
or  hard  tallow,  by  first  warming  the  steel  and  rubbing  on  the  wax; 
warm  until  it  flows  and  let  it  cool.  When  hard,  mark  the  name 
through  the  wax  with  a  graver  and  apply  some  aquafortis  (nitric 
acid);  after  a  few  moments  wash  oft'  the  acid  thoroughly  with 
water,  warm  the  metal  enough  to  melt  the  wax,  and  wipe  it  oflf 
with  a  soft  rag.     The  letters  will  be  found  etched  into  the  steel. 

Varnish  for  Tools. — Take  2  oz.  tallow,  1  oz.  resin;  melt 
together  and  strain,  while  hot,  to  remove  the  specks  which  are  in 
the  resin.  Apply  a  slight  coat  on  the  tools  with  a  brush,  and  it 
will  keep  oft"  the  rust  for  any  length  of  time. 

Boiler  Incrustation. — The  following  remedies  have  been 
used,  with  varying  success,  to  prevent  the  incrustation  of  boilers. 

1.  Potatoes,  in  weight  one  fiftieth  part  that  of  the  water,  pre- 
vents the  adherence  of  scale. 

2.  12  parts  of  salt,  2j/^  parts  of  caustic  soda,  yi  part  of  extract 
of  bark,  }4  P^i't  of  potash. 

3.  Pieces  of  oak-wood,  suspended  in  the  boiler  and  renewed 
monthly. 

4.  2  ounces  of  muriate  of  ammonia  in  the  i)oiicr  twice  a  week. 

5.  A  coating,  consisting  ot  3  parts  of  black-lead  and  18  parts 
of  tallow,  applied  hot  to  the  inside  of  the  boiler  every  few  weeks. 


FOR    FURNITURK    MEN.  83 

6.  12}4  lbs.  of  molasses,  fed  into  an  8  horse-boiler  at  intervals, 
prevented  incrustation  for  six  months. 

7.  Mahogany  or  oak  saw  dust  in  small  quantities.  Use  this 
with  caution,  as  the  tannic  acid  attracts  iron. 

8-     Carbonate  of  soda. 

NoN-CoNDUCTING     COVERING    FOR      StEAM     PiPES. Sawdust 

mixed  with  flour  and  water  into  a  thick  paste  is  a  non-conducting 
covering  for  steam  pipes,  cylinders,  &c.  The  flour  should  be  made 
into  a  very  thin  paste,  and  then  the  sawdust  is  stirred  in.  The 
adhesion  of  this  composition  is  very  great  when  applied  on  clean 
surfaces  of  wrought  or  cast  iron ;  but  on  copper  pipes  it  is  neces- 
sary to  wash  them  first  with  a  clay-wash,  made  with  potter's  clay, 
until  it  forms  a  thin  coating,  after  which  the  sawdust  and  paste 
will  adhere  firmly.  It  is  very  simple  to  apply ;  a  small  trowel  is 
all  that  is  necessary.  Lay  on  five  successive  coats  one-fifth  of  an 
inch  thick.  Let  the  pipes  or  other  objects  to  be  covered  be  kept 
warm  by  the  aid  of  a  little  steam,  and  let  one  coat  be  perfectly  dry 
before  applying  a  second.  Should  the  pipes  be  outside,  exposed 
to  the  open  air,  give  them  three  or  four  coats  of  coal  tar  to  make 
them  waterproof,  but  if  inside  a  building,  it  is  not  necessary.  It 
is  well  to  pass  the  sawdust  through  a  riddle  to  cleanse  it  from  the 
coarse  fragments  of  wood  which  are  always  to  be  found  amongst 
sawdust.  Steam  pipes  so  covered  lose  less  heat  than  when  covered 
by  any  other  known  or  patented  process  sold  tor  that  purpose.  It 
is  inuch  less  expensive  and  much  more  efficient. 

To  Harden  Wood  Pulleys. — Soft  maple  is  often  used  in  the 
construction  of  friction  pulleys.  If  it  is  boiled  in  olive  oil  it  will 
prove  beneficial  in  a  number  of  ways.  It  will  harden  the  timber 
and  render  it  less  liable  to  split,  but  at  the  same  time  the  gear  will 
slip  more  after  such  treatment. 

To  Prevent  Belts  Slipping. — A  piece  of  rubber  belting 
fastened  around  the  belt  pulley  of  an  engine  will  keep  the  belt 
from  slipping. 

Rasps.- -A  farrier's  rasp  is  an  excellent  tool  for  preparing  a 
rough  piece  of  wood  or  ivory  for  the  lathe.     Where  only  a  small 


84  PRACTICAL    HINTS 

quantity  of  the  material  is  required  to  be  reinoved  it  will  be  found 
to  be  more  convenient  than  the  axe  or  paring-knife.  There  is 
also  a  somewhat  similar  tool  used  by  shoemakers  which,  for 
smaller  jobs,  will  be  tound  equally  efficient. 

Soft  Files. — Small  single-cut  files  or  "floats"  of  various 
shapes  not  hardened,  may  be  met  with  at  some  of  the  dealers  in 
watchmaker's  tools,  which  are  useful  in  finishing  small  articles  in 
hard  wood,  ivory,  and  also  gold  and  silver;  they  are  used  some- 
times by  jewellers  for  finishing,  on  account  of  their  leaving  a 
smooth  surface  behind  them  instead  of  a  rough  one,  as  a  cross-cut 
file  does. 

Amalgam  Varxish. — Melt  together  equal  parts  of  bismuth, 
tin  and  quicksilver ;  when  melted  and  cooled  inake  it  into  a  varnish 
with  white  of  egg.  It  is  used  for  the  varnishing  of  plaster  of 
Paris  figures  and  others  of  the  like  kind.  Some  people  recom- 
mended lead,  but  lead  soon  becomes  tarnished,  but  tin  and  bismuth 
will  keep  bright. 

Painting  and  Preserving  Ironwork. — A  good  black  paint 
for  coarse  ironwork  may  be  made  by  mixing  plumbago  with  hot 
coal-tar.  Equal  parts  of  asphaltum  and  resm  dissolved  in  com- 
mon turpentine  make  also  a  good,  cheap  covering  for  heavy  iron- 
work. For  machinery,  dissolve  2  lbs.  india-rubber,  4  lbs.  resin, 
and  2  lbs.  shell-lac,  in  5  galls,  of  benzine.  This  may  be  used  with 
any  other  paint  as  a  vehicle.  Wrought-iron  bridges  are  painted 
with  white-lead  as  follows:  The  ironw^ork  is  first  made  clean  by 
scrubbing  and  brushing  it  with  wire  brushes;  this  done,  all  the 
cavities  and  fissures  are  filled  up  with  a  putty  of  litharge,  linseed 
oil,  varnish,  and  white-lead;  this  filling  being  dry,  brushing  is 
repeated.  Afterwards  a  paint  is  applied,  consisting  of  800  lbs.  of 
white-lead,  10  galls,  of  crude  linseed  oil,  1  or  2  galls,  of  boiled  lin- 
seed oil,  and  1>^  gal.  turpentine.  This  paint  is  repeated  when 
sufficiently  dry,  and  finally  evenly  overspread  with  white  sand. 
Galvanizing  is  employed  also  to  prevent  rusting.  A  galvanizing 
paint  consists  cliifly  of  zinc  powder  and  oil  varnish.  Rusting  is 
further  prevented  by  rubbing  the  red-hot  iron  with  wax,  tallow, 


FOR    FURNITURE    MEN.  85 

pitch,  or  coal-tar.     Rubbing  with   heavy  petroleiiin   is  also  well 
adapted  for  keeping  ironwork  clean. 

Preparing  Soft  Solder. — The  tbllowing  directions  for  solder- 
ing without  fire  or  lamp  may  suit  the  querist:  Bismuth,  ^  oz., 
quicksilver,  j^  oz.,  block  tin  filing,  1  oz.,  spirits  of  salts,  1  oz. 
Mix  the  whole  together.  Another  soft  solder  for  tin,  &c.  Take 
lead  1  part,  tin  1  part,  bismuth  2  parts;  this  melts  in  boiling  water. 

To  Clean  Silver  Filigree. — Make  a  thin  paste  with  cold 
water  and  cream  of  tartar,  spread  over  ornaments  thickly,  fold  in 
flannel,  leave  a  week,  then  wash  oft"  with  water,  and  they  wili  be 
as  good  as  new. 

Bronzing  on  Metal. — The  article  must  be  chemically  cleaned 
up  brushing  with  a  mixture  of  fine  pumice  in  dilute  sulphuric 
acid,  rinsed  in  pure  water  and  dried.  The  bronze  liquor  must  be 
applied  quickly  and  evenly  with  a  camel's  hair  brush,  having  first 
heated  the  article,  just  so  as  it  can  be  held  without  burning  the 
fingers. 

Polishing  Metals. — A  useful  compound  for  polishing  and 
cleaning  metals  is  composed  of  1  oz.  carbonate  of  ammonia  dis- 
solved in  4  oz.  water;  with  this  is  mixed  10  oz.  Paris  white.  A 
moistened  sponge  is  dipped  in  the  powder,  and  rubbed  lightly 
over  the  surface  of  the  metal,  after  which  the  powder  is  dusted 
oft",  leaving  a  fine  brilliant  luster. 

Imitation  Marble. — Mix  1  lb.  finely  powdered  lime  into  a 
thick  paste  with  water,  and  add  ^  lb.  of  colophony  or,  what  is 
better,  Venice  turpentine.  Allow  the  mixture  to  stand  for  some 
time,  and  then  work  up  with  it  suitable  quantities  of  fine  white 
chalk  and  various  colored  earths,  adding  a  few  drops  of  olive  oil 
if  necessary.  A  soft  mass  is  thus  obtained,  which  can  be  moulded, 
like  plaster  of  Paris,  to  any  desired  form,  or  it  can  be  rolled  out  on 
a  warm  metal  plate,  or  passed  under  wooden  rollers,  into  thin 
sheets,  which  can  be  glued  to  the  surface  to  be  decorated,  like 
ordinary  veneers,  and  left  to  harden.  It  hardens  and  takes  a  good 
surface.  Anv  cavities  that  appear  must  be  filled  up  with  some  of 
the  composition  mixed  with  oil  of  turpentine.     The  composition 


86  PRACTICAL    HINTS 

will  keep  fit  for  use  for  some  time,  if  covered  with   a  damp  cloth 
while  moist. 

To  Polish  Marble — It  sometimes  happens  that  the  cabinet- 
maker has  a  table-top  of  marble  to  remount,  which  is  scratched, 
and  requires  re-polishing.  The  following  is  the  process  used  hy 
the  mason,  and  will,  therefore,  be  acceptable  in  a  work  like  the 
present.  With  a  piece  of  sandstone  with  a  very  fine  grit,  rub  the 
slab  backward  and  forward,  using  very  fine  sand  and  water,  till 
the  marble  appears  equally  rough,  and  not  in  scratches;  next  use 
a  finer  stone  and  finer  sand,  till  its  surface  appears  equally  gone 
over;  then,  with  fine  emery-powder  and  a  piece  of  felt  or  old  hat 
wrapped  round  a  weight,  rub  till  all  the  marks  left  by  the  former 
process  are  vorked  out,  and  it  appears  with  a  comparative  gloss 
on  its  surface.  Afterward,  finish  the  polish  with  putty-powder 
and  fine,  clean  rags.  As  soon  as  the  face  appears  of  a  good  gloss, 
do  not  put  any  more  powder  on  the  rags,  but  rub  it  well,  and  in  a 
short  time  it  will  appear  as  if  fresh  from  the  mason's  hands. 

To  Polish  Marble. — Make  a  thick  paste  with  rotten  stone 
stone  and  olive  oil,  and  vigorously  rub  the  marble  with  it  on  a 
cloth. 

To  Polish  Black  Marble. — Wash  it  with  warm  soap  and 
water,  and  when  dry  rub  it  well  with  furniture  paste  or  French  pol- 
ish, and  then  rub  it  with  an  old  silk  handkerchief.  After  one  or 
two  trials  it  wi!l  become  quite  bright. 

To  Clean  Marble — Mix  the  strongest  soap-lees  with  quick- 
lime, to  the  consistency  of  milk;  let  it  lie  on  the  stone,  etc.,  for 
twenty-four  hours;  then  clean  it  oft",  and  wash  with  soap  and 
water,  and  it  will  appear  as  new.  The  polish  will  require  to  be 
renewed  by  the  process  given  above. 

To  Clean  Marble. — Mix  with  ^  pint  of  soap  lees,  ^  a  gill 
of  turpentine,  sufficient  pipe  clay  and  bullock's  gall  to  make  the 
whole  into  a  rather  thick  paste.  Apply  it  to  the  marble  with  a 
soft  brush,  and  after  a  day  or  two,  when  quite  dry,  rub  it  oft"  with 
a  soft  rag.  Apply  this  a  second  or  third  time  till  the  marble  is 
quite  clean. 


FOR    FURNITURE  MEN.  8Y 


To  Remove  Stains  on  Marble. — Apply  spirits  of  salt  and 
carefullj  wash  oft". 

To  Clean  Pictures. — Wash  with  a  sponge  or  a  soft  leather 
and  water,  and  dry  bj  rubbing  with  a  silk  liandkerchief.  When 
the  picture  is  very  dirty,  take  it  out  of  its  frame,  procure  a  clean 
towel,  and  making  it  quite  wet,  lay  it  on  the  face  of  the  picture, 
sprinkling  it  from  time  to  time  with  clear  soft  water;  let  it  remain 
wet  for  two  or  three  days ;  take  the  cloth  oft'  and  renew  it  with  a 
fresh  one;  after  wiping  the  picture  with  a  clean  wet  sponge, repea' 
the  process  till  all  the  dirt  is  soaked  out;  then  wash  it  well  with  a 
soft  sponge,  and  let  it  quite  dry ;  rub  it  with  some  clear  nut  or  lin- 
seed oil.  Spirits  of  wine  and  turpentine  may  be  used  to  dissolve 
the  hard  old  varnish,  but  they  will  attack  the  paint  as  well  as  the 
varnish  if  tae  further  action  of  the  spirits  is  not  stopped  at  the 
proper  time  by  using  water  freely. 

Cleaning  Varnished  Pictures.  —  There  are  conditions 
where  the  above  simple  proces.s  will  not  accomplish  what  is 
required;  where  a  thick  coating  of  varnish  has  been  applied  to  the 
picture,  and  it  has  been  hung  in  a  smoky  room,  and  dust  and  dirt 
has  been  allowed  to  gather  and  remain ;  then  it  is  that  no  high 
lights  will  be  visible,  the  sky  will  be  dirty,  no  distance  visible,  and 
perhaps  the  figures  in  the  foreground  very  indistinct.  Under 
these  conditions  the  varnish  must  be  either  removed  or  the  smoke 
and  dirt  must  be  brought  out  of  the  varnish.  If  it  is  thought 
desirable  to  try  the  latter,  the  following  receipt  will  be  found  val- 
uable for  the  purpose :  2  oz.  wood  naptha ;  1  oz.  spirits  of  salts ;  ^ 
pint  of  linseed  oil. 

Mix  the  above  well  together,  and  before  using  shake  the  bottle. 
It  can  be  used  as  follows:  Get  some  soft  linen  rag,  and  make  up 
a  soft  pad,  which  place  on  the  mouth  of  the  battle  and  shake  up 
some  of  the  mixture  into  the  pad,  when  commence  rubbing  the 
picture  with  a  circular  motion,  and  when  nearly  dry  again  give 
the  pad  another  dressing  of  mixture,  and  continue  this  mode  of 
procedure  for  some  time,  when  the  picture  will  gradually  come 
out  in  all  its  detail. 


PRACTICAL  HINTS 


Cleaning  Engravings. — Put  the  engraving  on  a  smooth 
board,  cover  it  thinly  witli  cominon  salt  fineh-  powdered.  Squeeze 
lemon  juice  upon  the  salt  so  as  to  dissolve  a  considerable  portion 
of  it;  elevate  one  end  ot  the  board  so  that  it  may  form  an  angle 
of  about  45  or  50  degrees.  Pour  on  the  engraving  boiling  water 
from  a  tea  kettle  until  the  salt  and  lemon  juice  be  all  washed  oft" 
The  engraving  then  will  be  perfectly  clean  and  free  from  stains. 
It  must  be  dried  on  the  board  or  some  smooth  surface  gradually^ 
If  dried  by  the  fire  or  the  sun  it  will  be  tinged  with  a  yellow 
color. 

Cleaning  Engravings. — Presuming  these  to  be  mounted, 
proceed  in  the  following  manner:  Cut  a  stale  loaf  in  half,  with  a 
perfectly  clean  knife;  pare  the  crust  away  from  the  edges.  Now 
place  the  engravings  on  a  perfectly  flat  table,  and  rubbing  the  sur- 
face with  the  fresh-cut  bread,  in  circular  sweeps,  lightly  but 
firmly  performed,  will  remove  all  superficial  markings.  Now 
soak  the  prints  for  a  short  time  in  a  dilute  solution  of  hydrochlo- 
ric acid,  say  1  part  acid  to  100  of  \\ater,  and  then  remove  them 
into  a  vessel  containing  a  sufficient  quantity  of  clear  chloride  lime 
water  to  cover  them.  Leave  them  there  until  bleached  to  the 
desired  point.  Now  remove,  rinse  well  by  allowing  to  stand  an 
hour  in  a  pan  in  which  a  constant  stream  of  water  is  allowed  to 
flow,  and  finally  dry  off"  by  spreading  on  clean  cloths.  Perhaps 
the  sheets  ma}'  require  ironing  between  two  sheets  of  clean 
paper. 

To  Smooth  a  D.\.maged  Picture. — Paintings  sometimes  get 
convex  and  concave  patches  on  their  surface,  owing  to  pressure 
on  one  side  or  the  other,  and  these  inequalities  cause  a  great  deal 
of  trouble  to  bring  out.  The  most  successful  way  is  to  well  wet 
I  oth  sides  of  the  picture  on  the  spot,  and  keep  it  under  pressure  till 
dry.  With  small  pictures  the  quickest  way  would  be  to  take  them 
oft'  the  stretcher  and  lay  them  in  a  press,  w  ith  a  ligiit  pressure 
between  soft  sheets  of  paper. 

Embossed  (Jildinc;  i-or  Illuminating — Gilding  of  figures 
and  letters  on  paper  and  for  the  embellishment  of  manuscripts, 
,*s   performed   with   shell  gold  tempered   with  gum   water;  or  the 


FOR    FURNITURE    MRS.  89 


characters  may  be  drawn  with  a  milky  solution  of  guTn  amma- 
nacuni  made  in  water,  and  gold  leaf  applied  upon  them  when 
almost  dry;  they  may  again  be  sufficiently  moistened  for  receiv- 
ing the  gold  by  breathing  on  them.  Letters  raised  from  the  sur- 
face, if  paper  or  parchment  in  the  manner  of  embossed  work, 
such  as  are  seen  on  ancient  manuscripts,  may  be  formed  either  by 
friction  on  a  proper  body  with  a  solid  piece  of  gold,  or  by  leaf 
gold. 

The  former  method  is  practised  by  tempering  pulverizers'  crys- 
tal with  strong  gum  water,  and  with  tliis  paste  forming  the  let- 
ters ;  when  they  are  dry  they  are  rubbed  with  a  piece  of  solid  gold 
as  in  polishing,  and  the  letters  will  appear  as  if  gilt  with  burnished 
gold.  The  letters  are  formed  with  an  embossed  figure,  either  of 
the  separate  letters  or  of  whole  words  cut  in  steel,  and  each  letter 
of  these  stamps  when  they  are  used,  is  oiled  evenly  with  a  feather. 
Then  fill  these  concave  letters  with  the  above  paste,  and  strike  the 
stamps  in  a  perpendicular  direction  on  the  paper  or  vellum  laid 
on  sheets  of  soft  paper. 

When  the  embossed  letters  are  formed  with  leaf  gold,  the  fol- 
lowing or  a  similar  composition  must  be  used:  Thicken  beaten 
whites  of  eggs  with  as  much  vermillion  as  is  necessary  to  give- 
them  the  consistence  of  paste;  use  the  stamps  as  before,  and 
when  the  letters  are  dry  moisten  them  by  a  small  pencil  w^ith 
strong  gum  water,  and  when  this  is  almost  dry  cover  the  letters 
with  leaf  gold,  pressing  it  close  to  every  part  ot  them  with  cotton 
wool ;  when  dry,  burnish. 

Gold  for  Illuminating. — Procure  a  book  of  leaf  gold,  take 
ovit  the  leaves  gently  and  grind  them  in  a  mortar  with  a  piece  of 
honey  about  the  size  of  a  hazel-nut,  until  it  is  thoroughly  inter- 
mixed with  the  gold,  then  add  a  little  water  and  re- work  it;  put 
the  w  hole  into  a  phial  and  shake  it  well.  Let  it  remain  an  hour 
or  two,  and  the  gold  will  deposit  at  the  bottom  of  the  phial. 

Pour  off  the  liquor,  and  add  weak  prepared  gum  in  its  stead; 
sufficient  to  make  it  flow  freely  from  the  pen  or  camel's-hair  pen- 
cil.    When  required  for  use,  shake  it  occasionally. 

To  Stain  Horn  in  Imitation  of  Tortoise  Shell. — Mix  an 


90  PRACTICAL    HINTS 


equal  quantity  of  quicklime  and  reil  lead  with  strong  soap  lees, 
lay  it  on  the  horn  with  a  small  brush,  in  imitation  of  the  mottle 
of  tortoise-shell;  when  dry,  repeat  it  two  or  three  times. 

To  Stain  Ivory  or  Boxe  Red. — Boil  shavings  of  scarlet 
cloth  in  water,  and  add  by  degrees  pearlash  till  the  color  is 
extracted;  a  little  roach  alum,  now  added,  will  clear  the  color; 
then  strain  it  through  a  linen  cloth.  vSteep  your  ivory  or  bone  in 
aquafortis  (nitrous  acid)  diluted  with  twice  its  quantity  of  water, 
then  take  it  out,  and  put  it  into  your  scarlet  dve  till  the  color  is 
to  your  mind.  Be  careful  not  to  let  your  aquafortis  be  too  strong; 
neither  let  your  ivory  remain  too  long  in  it.  Trv  it  first  with  a 
slip  of  ivory,  and  if  you  observe  the  acid  has  just  caused  a  trifling 
roughness  on  its  surface,  take  it  out  immediately,  and  put  it  into 
the  red  liquid,  which  must  be  warm,  but  not  too  hot.  A  little 
practice,  with  these  cautions,  will  enable  you  to  succeed  according 
to  your  wishes;  cover  the  places  you  wish  to  remain  unstained 
with  white  wax,  and  the  stain  will  not  penetrate  in  those  places- 
but  leave  the  ivorv  of  its  natural  colour. 

To  Stain  Ivory  or  Bone  Black. — Add  to  any  quantitv  of 
nitrate  of  silv<=r  (lunar  caustic)  three  times  its  bulk  of  water,  and 
steep  your  ivory  or  bone  in  it;  take  it  out  again  in  about  an  hour, 
and  expose  it  to  the  sunshine  to  dry,  and  it  will  be  a  perfect  black. 

To  Stain  Ivory  or  Bone  Green. — Steep  your  work  in  a 
solution  of  verdigris  and  sal-ammoniac  in  weak  aqufortis,  in  the 
proportion  of  two  parts  of  the  former  to  one  of  the  latter,  being 
careful  to  use  the  precautions  mentioned  for  staining  red,  as 
above. 

To  Stain  Ivory,  etc..  Blue.— Stain  your  materials  green 
according  to  the  previous  process,  and  then  dip  them  in  a  strong 
solution  of  pearlash  and  water. 

To  Stain  Ivory,  etc.,  Yellow. — Put  your  ivory  in  a  strong 
solution  of  alum  in  water,  and  keep  the  whole  some  time  nearly 
boiling;  then  take  them  out  and  immerse  them  in  a  hot  mixture 
of  turmeric   and   water,  either  with    or  without   the  addition    of 


FOR    FURNITURE    MEN,  91 

French  berries;  let  them  simmer  for  about  hah"  an  hour,  and 
your  ivory  \\\U  be  of  a  beautiful  yellow.  Ivory  or  bone  should 
dry  very  gradually,  or  it  will  split  or  crack. 

To  Soften  Ivory. — Slice  a  quarter  of  a  pound  of  mandrake, 
and  put  it  into  half  a  pint  of  the  best  vinegar,  into  which  put 
your  ivory ;  let  the  whole  stand  in  a  warm  place  for  forty-eight 
hours,  when  you  will  be  able  to  bend  the  ivory  to  your  mind. 

To  Bleach  Ivory. — Take  a  double  handful  of  lime,  and  slake 
it  by  sprinkling  it  with  water;  then  add  three  pints  of  water,  and 
stir  the  whole  together;  let  it  settle  ten  minutes,  and  pour  the 
water  into  a  pan.  Take  the  ivory,  and  steep  it  in  the  lime-water 
for  twenty-four  hours,  after  which  boil  it  in  a  strong  alum-water 
one  hour,  and  dry  it  in  the  air. 

Artificial  Ivory. — Two  parts  of  caoutchouc  are  dissolved  in 
36  parts  of  chloroform,  and  the  solution  is  saturated  with  pure 
gaseous  ammonia.  The  chlorot'orm  is  then  distilled  off  at  a  tem- 
perature of  85  deg.  C.  (185  deg.  F.).  The  residue  is  mixed  with 
calcium  phosphate  or  zinc  carbonate,  pressed  into  moulds  and 
dried.  When  calcium  phosphate  is  used,  the  product  possesses 
to  a  considerable  degree  the  nature  and  composition  of  ivory. 

Cement  for  Joining  Leather. — A  cement  which  has  been 
found  useful  for  this  purpose  may  be  prepared  by  mixing  ten 
parts  of  bisulphate  of  carbon,  one  of  oil  of  turpentine,  and  so 
much  gutta-percha  as  is  necessary  to  produce  a  thick  fluidity. 
The  leather  must  be  first  freed  from  all  grease,  which  can  be  done 
by  simply  laying  it  in  a  cloth  and  pressing  this  with  a  hot  iron. 
The  parts  to  be  joined,  after  being  brought  into  contact  with  the 
cement,  require  to  be  kept  pressed  together  until  they  are  quite 
dry. 

Cement  for  Leather  and  Wood. — Equal  parts  of  pitch  and 
gutta-percha  melted  together.  This  compound  is  insoluble  in 
water. 

Cement  for  Joining  China,  etc. — Beat  the  whites  of  eggs 
well  to  a  froth,  let  them  settle,  add  soft  grated  or  sliced  cheese 


92  PRACTICAL    HINTS 


and  quicklime;  beat  them  well  together,  and  appl_y  a  little  to  the 
broken  edges.     This  cement  will  endure  both  the  fire  and  water. 

Cement  for  China,  etc.— Pound  half  an  ounce  of  resin  and 
four  ounces  of  gum-mastic;  put  them  into  a  pipkin  on  the  fire  to 
melt;  stir  them  well.  To  this  add  about  half  an  ounce  of  finely- 
powdered  glass,  and  half  an  ounce  of  quicklime;  stir  the  whole 
well  together.  When  nearly  cold,  form  it  into  sticks,  on  a  stont-, 
in  the  same  manner  as  sticks  of  sealing-wa.^c  are  formed.  When 
it  is  desired  to  cement  any  article,  heat  the  broken  edges  suffici- 
ently to  melt  the  cement,  which  rub  thinly  on  both  edges;  bring 
them  accurately  together;  press  them  close,  and  let  them  cool.  If 
this  be  carefully  done,  the  work  will  sooner  break  in  anv  other 
part  than  where  the  cement  has  been  applied. 

Ce.ment  for  Gl.sss. — Steep  one  ounce  of  isinglass  in  half  a 
pint  of  spirits  of  wine  for  twenty-four  hours;  then  let  it  dissolve 
over  a  slow  fire,  (always  keeping  it  covered,  or  the  spirit  will 
evaporate);  now  well  bruise  six  cloves  of  garlic  in  a  mortar,  put 
them  in  a  linen  cloth,  and  squeeze  the  juice  into  the  isinglass; 
mix  all  well  together,  and  keep  it  for  use.  It  is  excellent  to  join 
glass  ornaments,  ete. 

Cement.s  for  Aquariums.— Take  1  gill  of  plaster  of  Paris,  1 
gill  of  litharge,  1  gill  of  fine  white  sand,  >^  gill  of  finely- 
powdered  resin.  Mix  well,  and  bottle  and  cork  it  until  wanted 
for  use,  then  mix  it  with  boiled  oil  and  dryers  until  as  thick  as 
putty.    Mix  the  cement  only  in  small  quantities  as  it  dries  quickly. 

Mix  boiled  linseed  oil,  litharge,  red  and  white  lead  together, 
using  white  lead  in  the  largest  proportion,  spread  on  fiannel,  and 
place  on  the  joints. 

A  solution  of  glue,  8  oz.  to  1  oz.  of  Venice  turpentine;  boil 
together,  agitating  all  the  time,  until  the  mixture  becomes  as 
complete  as  possible,  the  joints  to  be  cemented  to  be  kept  together 
for  forty-eight  hours  if  required. 

Take  Yz  a  gill  of  gold  size,  two  gills  of  red  lead,  1>^  gill  of 
litharge,  and  sufficient  silver-sand  to  make  it  into  a  thick  paste  for 
use.     This  mixture  .sets  in  about  two  days. 


FOR    FURNITURE    MEN.  93 

To  Restore  the  Elasticity  of  Cane-Chair  Bottoms. — 
Turn  up  the  chair  bottoms,  and  with  a  hot  water  and  sponge 
wash  the  cane-work  well,  so  that  it  ma}-  be  well  soaked;  should 
it  be  dirty,  you  must  add  soap.  Let  it  dry  in  the  air,  and  you  will 
find  it  as  tight  and  firm  as  when  new,  provided  the  cane  is  not 
broken. 

Moths  in  Carpets. — Moths  will  work  in  carpets  in  rooms 
that  are  kept  warm  in  winter  as  well  as  in  summer.  A  sure 
method  of  removing  the  pests  is  to  pour  strong  alum- water  on 
the  floor  to  the  distance  of  half  a  yard  around  the  edges  before 
la^ying  the  carpets.  Then  once  or  twice  during  the  season  sprinkle 
dry  salt  over  the  carpet  before  sweeping.  Insects  do  not  like 
salt,  and  sufiicient  adheres  to  the  carpet  to  prevent  them  alighting 
upon  it. 

To  Destroy  Moths  in  Carpets. — Take  a  wet  sheet  or  other 
cloth,  lay  it  upon  the  carpet,  and  tlien  rub  a  hot  flat  iron  over  it, 
so  as  to  convert  the  water  into  steam,  which  permeates  the  carpet 
beneath,  and  destroy  the  life  of  the  grub. 

To  Clean  Carpets. — The  carpet  being  first  well  beaten  and 
freed  from  dust,  tack  it  down  to  the  floor;  then  mix  half  a  pint 
ol  bullock's-gall  with  two  gallons  of  soft  water;  scrub  it  well 
with  soap  and  the  gall-mixture;  let  it  remain  till  quite  dry,  and  it 
will  be  perfectly  cleansed,  and  look  like  new,  as  the  colors  will  be 
restored  to  their  original  brightness.  The  brush  used  must  not 
be  too  hard,  but  rather  long  in  tlie  hair,  or  it  will  rub  up  the  nap 
and  damage  the  article. 

To  Make  Parchment  Transparent. — Soak  a  thin  skin  oi 
parchment  in  a  strong  ley  of  wood  ashes,  often  w-ringing  it  out 
till  it  becomes  transparent;  then  strain  it  on  a  frame,  ^nd  let  dry. 

This  will  be  much  improved  if,  after  it  is  dry,  you  give  it  a  coat, 
on  both  sides,  of  clear  mastic  varnish,  diluted  witli  spirits  of 
turpentine. 

Tinting  on  Parchment. — On  a  good  skin  you  may  get  an 
even  tint,  as  follows :  After  "  inking  in  "  the  plan,  cover  (with  a 
large  color  brush)  rather  more  than  the  whole  of  it  with  a  strong 


94:  PRACTICAL    HINTS 


wash  of  alum  dissolved  in  water,  taking  care  that  every  portion 
is  saturated  by  the  solution,  and  when  dry  brush  away  the  dry 
alum,  and  the  parchment  will  then  take  color  almost  as  easily  as 
paper,  and  the  ink  will  not  be  disturbed. 

India  Ixk  Running. — If  it  is  for  drawing  plans  you  may  pre- 
vent it  running  by  adding  a  little  sugar  to  the  India  ink. 

Erasing  Indian  Ink. — The  most  etlectivc  mode  of  erasing 
Indian  ink  lines  is  by  rubbing  the  part  to  be  erased  with  sand- 
paper of  the  finest  quality,  which  will  not  only  eflectually  remove 
the  ink,  but  will  leave  a  clear,  smooth  surface,  which  will  take  the 
ink  better  than  at  first,  and  may  be  colored  upon. 

To  Make  Carbon  Paper — Carbon  paper,  for  copying  or 
duplicating,  can  be  made  in  the  following  manner:  Take  sweet 
oil,  mixed  to  the  consistence  of  cream,  with  either  of  the  following 
paints  (to  produce  the  color  desired):  Prussian  blue,  lampblack, 
Venetian  red,  or  chrome  green ;  they  should  be  ground  fine  on  the 
stone.  Use  rather  thin  but  firm  paper,  put  on  with  a  sponge,  and 
wipe  oft"  as  dry  as  possible;  then  lay  them  between  uncolored 
paper,  and  press  by  laying  a  weight  or  some  other  heavy  flat  sub- 
stance upon  them  until  the  surplus  oil  is  absorbed,  when  it  is 
ready  for  use. 

Removing  Oil  Stain.s  from  Tiles. — You  can  remove  oil 
stains  from  tiles  completely  by  mixing  fuller's  earth  into  a  thick 
paste  with  water,  and  spreading  it  over  the  tiles,  letting  it  remain 
twenty-four  hours,  and  then  wiping  it  olf.  It"  the  mark,  then,  has 
not  quite  gone,  put  on  another  paste. 

To  Polish  Floors. — Put  some  spermaceti  into  a  saucepan  on 
the  fire,  ai^  mix  it  with  enough  turpentine  to  make  it  quite  fluid; 
then  with  a  piece  of  flannel  put  it  very  thinly  on  the  floor.  It 
must  then  be  rubbed  with  a  dry  flannel  and  brushed  in  the  same 
way  that  oak  stairs  are  polished.  This  part  of  the  process, 
rubbing  and  brushing,  takes  a  long  time  to  do  thoroughly. 

To  Polish  Floors. — Dissolve  half  a  pound  of  potash  in  three 
pints  of  water,  in  a  saucepan  on   the  fire;  when   the  water  boils 


FOR  FURNITURE  MEN.  95 


throw  in  1  lb.  of  beeswax,  cut  up  in  small  pieces;  stir  well  until 
the  wax  is  quite  melted.  When  the  polish  is  cold,  if  it  be  too 
tiiick,  add  more  water,  then  witli  a  brush  paint  tlie  boards  evenly 
with  it;  and  when  it  has  dried  rub  them  with  a  iiannel  tied  at  the 
end  of  a  broom. 

Black  Wax. — Add  one  ounce  of  beeswax  to  half  an  ounce  of 
Burgundy  pitch ;  melt  them  together,  and  add  one  ounce  and  a 
half  of  ivorj-black,  groimd  very  tine,  and  dried. 

Green  Wax. — Melt  one  ounce  of  beeswax,  and  add  half  an 
ounce  of  verditer;  let  the  pipkin  be  'arge  enough,  as  the  wax  will 
immediately  boil  up.  Stir  it  well,  and  add  the  eighth  part  of  an 
ounce  of  resin,  when  it  will  be  sufficiently  hard  and  fit  for  use. 

To  Polish  Tortoise-shell  or  Horn. — Having  scraped  your 
work  perfectly  smooth  and  level,  rub  it  with  very  fine  sand-paper 
or  Dutch  rushes;  repeat  the  rubbing  with  a  bit  of  felt  dipped  in  a 
very  finely  powdered  charcoal  with  water,  and  lastly,  with  rotten- 
stone  or  putty-powder;  and  finish  with  a  piece  of  soft  wash- 
leather,  damped  with  a  little  sweet  oil. 

To  Clean  Looking  Glasses. — Sponge  down  the  glass  with 
gum  and  water,  equal  parts,  then  dust  down  with  whitening,  and 
finish  with  a  soft  old  silk  liandkercliief 

To  Remove  Ink  Stains. — Ink  stains  may  be  removed  from 
a  mahogany  table  by  putting  a  few  drops  of  spirits  of  niter  into 
a  teaspoonful  of  water,  and  touching  the  part  stained  with  a  feather 
dipped  into  the  mixture;  immediately  the  ink  stain  disappears, 
the  place  must  be  rubbed  witli  a  rag  wet  witii  cold  water,  or  there 
will  be  a  white  mark,  which  will  not  easily  be  removed.  Ink 
stains  on  silver  or  plated  articles  may  be  removed  immediately 
and  eftectually  without  doing  any  injury  to  the  things,  by  making 
a  little  cliloride  of  lime  into  a  paste  with  water  and  rubbing  the 
stains  until  they  disappear,  and  afterwards  washing  the  article 
with  soap  and  water.  Ink  stains  may  be  removed  from  colored 
table  covers  by  dissolving  a  teaspoonful  of  oxalic  acid  in  a  teacup- 
ful  of  hot  water  and  rubbing  the  stained  part  well  ^vith  the  solu- 
tion.    Ink  stains  niay  be  taken  out  of  anything  white   b}'  simply 


96  PRACTICAL  HINTS 

putting  a  little  powdered  salts  of  lemon  on  the  stain,  damping  it, 
allowing  it  to  remain  about  five  minutes,  and  then  washing  it  out 
with  soap  and  water,  when  the  stain  will  disappear.  Ink  maj'  be 
removed  from  boards  by  applying  some  strong  muriatic  acid  or 
spirits  of  salt  with  a  piece  of  rag  and  afterwards  well  washing  the 
place  with  water. 

To  Remove  Stains  from  Wood. — To  half  a  pint  of  soft 
water  put  an  ounce  of  oxalic  acid  and  half  an  ounce  of  butter  of 
antimony;  shake  it  well,  and  when  dissolved  it  will  be  very  useful 
in  extracting. stains,  as  well  as  ink  from  wood,  if  not  of  too  long 
standing. 

To  Clean  Velvet. — Velvet  requires  very  careful  manipula- 
tion, as  it  loses  its  fine  appearance  if  wrung  or  pressed  when  it  is 
wet.  To  remove  dust: — Strew  very  fine  dry  sand  upon  the  velvet, 
and  brush  in  the  direction  of  tlie  lines  until  all  the  sand  is  removed. 
The  brush  must  be  clean.  To  remove  dirt: — Dissolve  ox-gall  in 
nearly  boiling  clean  water,  and  add  some  spirits  of  wine.  Dip  a 
soft  brush  into  this  solution  and  brush  the  dirt  out  of  the  velvet. 
It  may  require  repeated  brushing.  After  this,  hang  it  evenly  up 
to  dry.  For  finishing,  apply  a  weak  solution  of  gum  by  means  of 
a  sponge  to  the  reverse  side  of  the  velvet. 

To  Remove  Paint  or  Stain  fro.m  Wood. — Dissolve  potash 
in  water,  making  a  strong  solution,  with  this  wash  the  surface  of 
the  work,  allowing  it  to  soak  a  few  minutes.  If  the  paint  cannot 
then  be  scraped  off,  give  the  wood  another  application,  and  repeat 
until  the  paint  is  removed.  Afterward,  wash  the  surface  with 
clean  water  sufficiently  to  ensure  tiie  removal  of  all  the  potash. 

To  Re.move  Varni-sh  from  Wood. — A  strong  application  of 
ordinary  spirits  of  camphor  will  remove  almost  any  kind  of  polish 
or  varnish.  Give  the  spirit  time  to  evaporate  before  repolishing, 
or  it  will  injure  the  new  polish. 

The  solution  of  potash,  mentioned  above,  will  also  remove 
varnish. 

Tests  for  Gilding. — If  a  gilt  surface  be  touched  with  a  drop 
of  chloride  of  gold  or  nitrate  of  silver  solution,  the  former  will 


FOR    FURNITURE    M?:N.  97 

produce  a  brown,  the  latter  a  grey  spot  if  the  coating  be  an  alloy, 
but  will  have  no  effect  vipon  pure  gold.  For  gilt  paper,  moisten 
with  a  drop  of  chloride  of  sulphur,  which  will  iTnmediately  pro- 
duce a  dark  brown  margin  if  the  covering  is  not  pure  gold. 
Metallic  spangles  shaken  in  close  flasks  with  chloride  of  sulphur, 
suffer  no  change  if  gold,  otherwise  they  gradually  darken ;  but  if 
under  slight  pressure,  as  in  hermetically  sealed  tubes,  gold  spangles 
disappear  in  a  short  time  by  conversion  into  chloride  of  gold. 

Anti-Attrition. — This  mixture  is  made  of  one  part  of  plum- 
bago or  blacklead  ground  very  fine,  and  four  parts  of  hog's  lard 
or  grease,  mixed  well  together.  It  prevents  the  effects  of  friction 
much  better  than  oil  or  other  grease,  and  is  very  useful  the 
turner,  and  will  be  found  to  make  the  lathe  work  much  easier,  as 
well  as  to  be  a  great  saving  in  oil,  which  with  constant  use  grows 
stiff",  and  sensibly  impedes  the  motion ;  while  this  preparation,  once 
applied,  will  last  a  long  time  without  requiring  renewal. 

To  Remove  Grease  from  Cloth. — Drop  on  the  spot  some 
oil  of  tartar,  or  salt  of  wormwood,  which  has  been  left  in  a  damp 
place  till  it  turns  into  a  fluid ;  then  immediately  wash  the  place 
with  lukewarm  sott  water,  and  then  with  cold  water,  and  the  spot 
will  disappear. 

This  will  be  found  very  useful,  as  it  frequently  happens  that  the 
cloth  of  the  card  tables,  and  the  inside  flaps  of  secretaries,  are 
spotted  and  greasy.  By  preceding  as  above,  every  spot  of  grease 
will  be  completely  taken  out. 

Putty. — Painters  use  various  kinds  of  putty,  using  varnish 
iapan,  oil,  keg  lead,  dry  lead,  red  lead,  whiting,  zinc  white,  umber, 
vellow  ocher,  &c.,  in  the  composition  of  the  various  kinds.  In 
mixing  up  putty  the  painter  should  always  be  governed  by  the 
time  he  may  have  in  which  to  complete  his.  work.  If  the  vork 
he  is  doing  must  be  completed  in  an  unreasonably  short  time, 
the  putty  should  be  mixed  with  very  little  or  no  oil,  although  a 
putt^'  mixed  ^\ith  japan  alone  will  dry  quicker,  so  as  to  bear  sand- 
papering in  the  shortest  possible  time,  but  it  is  a  mealv,  poor  kind 
7 


98  PRACTICAL  HINTS 

of  putty,  and  is  apt  to  shrink,  allowing  dampness  to  penetrate  it 
when  rubbed  with  pumice-stone  and  water. 

The  best  and  toughest  kind  of  putty  is  made  of  keg  and  dry 
white  lead,  with  only  a  small  portion  of  japan.  In  making  this 
kind  of  putty,  use  about  4  pounde  of  keg  lead  to  about  a  gill  of 
japan,  mixing  them  thoroughly  together;  then  add  dry  white  lead 
in  small  quantities,  pounding  it  lightly  at  first,  and  when  you  have 
added  sufficient  dry  lead  to  form  a  mass  like  dough,  use  the  mallet 
or  hammer  very  freely.  If  dry  zinc  white  is  used  instead  of  dry 
lead,  the  putty  will  be  much  better.  This  putty  should  be  allowed 
three  or  four  days  to  dry.  Another  kind  of  this  necessary  com- 
pound is  made  by  using  keg  lead  and  red  lead.  The  latter  is  of 
itself  a  powerful  dryer, consequently  it  does  not  require  so  much 
japan  to  dry  the  putty.  It  works  very  easy  and  adheres  to  the 
wood  very  tenaciously,  and  is  not  apt  to  swell  or  shrink. 


THE     END. 


INDEX 


PAr,R. 

Alcohol 46 

Amber,  gum 43 

Anime,  gum  ....      42 

Anti- Attrition 97 

Belts,  to  Prevent  Slipping 83 

Bleached  Shellac 61 

Boiler  Incrustation 82 

Bronzincr ;^2 

on  Metal B.') 

Bruises  in  Furniture  to  Take  Out 76 

Burnish-Gilding     29 

Brushes  for  Varnishing 8 

Cane-chair  Bottoms,  to  Restore  Elasticity 9o 

Carbon-paper,  to  Make 94 

Carpets,  to  Clean 98 

to  Destroy  Moths  in   9:J 

Cements,  for  Aquariums 92 

for  China 91,  92 

for  Glass 92 

ibr  Joining  Leather 91 

for  Leather  and  Wood 91 

for  Stopping  Flaws 77 

for  Turners 78 

Circular  Saws,  to  Remedy  Splits  in 80 

Color  Harmony  in  Grained  Work 40 

Colors  for  Outlines  of  Ornaments 39 

Colors  to  Mix 87 

Buff :;8 

Carnation 89 

Chestnut,  dark 88 


102  INDEX. 

Colors  to  Mix,  Chinese  White 40 

Chocolate 89 

Cream 38 

Drab 38 

Fawn 38 

French  Grev 38 

Gold,  Imitation  of 39 

Green,  Grass   39 

Green,  Olive 39 

Lead 38 

Peach  Blossom 38 

Pearl o8 

Pm-ple 38 

Salmon 38 

Silver 38 

Stone 39 

Straw 38 

\''arnish  Green    41 

Violet 38 

White  Lead 41 

Yellow 39 

Composition  for  Frame  Ornaments 32 

Copal,  gum   43 

Cracks  in  Drawing-boards 79 

Damar,  gum 44 

Dead-finish 11 

Distemper  ....    40 

D\e.  Black,  fine 22 

Blue,  fine 22,23 

Gray 23 

Green 23 

Liquid  for  Brightening  and  Setting 24 

Orange 25 

Purple 24 

Red 23,24 

■^'ellow,  fine 23 

Dyeing  Wood 21 


INDEX.  103 

Ebonv  Finish 12.  13 

Files,  soft 84 

Filigree,  Silver  to  Clean 85 

Fillers 2 

Cherry 4 

Light- wood    4 

Oak 4 

Rosewood 4 

Sizing 4 

Walnut 3,  4 

Finishing 1 

Processes  of 1 

Varieties  of 11 

Dead-finish 11 

Ebony  Finish 12,  13 

French  Polishing 13,  14,  15,  IG 

Varnish  Finish 12 

Wax  Finish 12 

Wax  Finish,  imitation 12 

Flowing 10 

Floors,  to  Polish 94 

French  Polish 14,  15,  10,  60 

French  Polishing 13 

Furniture  Cream 70,  71 

Furniture  Paste 70 

Gilding 25 

Gilding,  Burnish 29 

Applying  the  Size 30 

Burnishing 31 

Finishing 31 

I>aying  the  Gold 30 

Matting  or  Dead  Gold 31 

Polishing 30 

Preparing  the  Woodwork 29 

Gilders'  Cushion , 26 

Oil 28 

Sizes  for 27 


104  INDEX. 

Gilding.  Burnish,  Oil  size  for 27 

Parchment  size  for 27 

Gold,  size  for  Burnish 27 

The  Requisites 26 

To  Prevent  Gold  Adhering 28 

Gilding  Embossed  for  Illuminating 88 

Silvering  and  Bronzing 25 

Tests  for 96 

GJue 73 

Portable 75 

Mixing  . 73 

To  Prepare 72 

To    Prevent   Cracking 74 

To  Resist  Moisture 74,  75 

(jluc-pot 73 

Gold,  applying 28 

Burnishing 31 

Dead-gold 31 

For  Illuminating 89 

Imitation  of 39 

Shell-gold 31 

To  Manipulate 32 

To  Prevent  Adhering 28 

Graining 33 

Color,  liannony  in  Grained  Work 40 

Colors.     (See  Colors) 

(Jrounds 35,  37 

Birds'-eje  Maple 36 

Mixing  Colors 37 

Mahogany 36 

Oak 36 

Rosewood 36 

The  Process 34 

(ireaBC,  to  Remove  from  Cloth 97 

f  juMiR  and  their  qifalities   42 

Amber 42 

Anime 42 


INDEX.  105 

Gums,  Bleached  Shellac 61 

Copol 34 

Damar 44 

Lac 44 

Mastic 44 

R  esin 45 

Sandarac 44 

Horn,  to  Polish 95 

to  Stain  in  Imitation  of  Tortoise  Shell 89 

India  Ink,  to  Erase 94 

to  Prevent  Running 94 

Ink,  Stains   to  Remove 95 

Ironwork,  Painting  and  Preserving 84 

Ivory,  Artificial 91 

To  Bleach 91 

To  Soften 91 

or.  Bone,  to  Stain  Black 90 

Blue 90 

Red 90 

Yellow 90 

Lac,  gum 44 

Lackers,  colored 63 

for  Brass 63 

hardwood   60 

Linseed  Oil   45 

Looking  Glasses,  to  Clean 95 

Marble,  Imitation 85 

To  Clean 80 

To  Polish 86 

To  Remove  Stains  on 87 

Mastic,  gum 44 

Metals,  Polishing 85 

Moths  in  Carpets,  to  Destroy . . .  ' 93 

Naphtha 47 

Oil  Gilding 28 

Oil  Varnishes 43 

I'archment,  Tinting  on 93 


106  INDEX. 

Parchment,  to  Make  Transparent  93 

Paste  for  Laying  Cloth  or  Leather 76 

Pictures,  to  Clean 87,  88 

to  Smooth  Damaged 88 

Polish  tor  Turner's  Work 

French   15,  10,  60 

Improved 16 

Prepared  Spirits 16 

Revivers 70 

Water-proof 16 

Polishing,  French 13 

Varnish 10 

Putty 97 

Rasps 83 

Resin 45 

R  ubbing  9 

Sandarac,  gum 44 

Saws,  Band,   Brazing 81 

Circular,  to  Remedy  Splits  in 80 

Sharpening 81 

ijhades 40 

Shellac,  bleached 61 

Shell-gold 31 

Silvering,  (see  Gilding) 

Silver-size 32 

Size,  Gold,  for  Burnish  Gilding 27 

Oil,  for  Gilding 27 

Parchment,  for  Gilding 27 

Silver 32 

Solder,  Soft,  Preparing 85 

Spirit  Varnishes 4i3 

Stain,  Black 17,  18 

Blue,  fine 21 

Brown 18 

Cherry 20 

Crimson,  fine 20 

Mahogany 20 


INDEX.  107 

Stain,  Oak 18,  19,  20 

Purple 21 

Red 20 

Rosewood    19,  20 

Walnut 18,  20 

Yellow 21 

Staining 17 

Stains,  surface 20 

To  Brighten 21 

To  Remove  from  Wood 96 

Steampipes  non-Conducting,  Covering  for 83 

Steel  Scrapers  to  Cut 80' 

Tempera ^  4 

Tiles,  to  Remove  Oil  Stains  from 94 

Tints  39' 

Tones 89 

Tools,  Oiling 81 

To  Harden 80 

To  Mark 82 

To  Temper  79 

Varnish  for 83 

Tortoise  Shell,  Imitation  of 89 

To  Polish 95 

Tracing-paper 78 

Tracings,  to  Mount 78 

Turpentine,  Oil  of 46 

Varnish,  Amalgam 84 

Amber,  pale 55 

Black 07 

Brown  Hard  Spirit 60 

Cabinet 53 

Carriage 54 

Copal 52,  53,  54 

Crystal 60 

for  Cane  and  Basket  Work 68 

"    Iron 68- 

"    Paper    66 


108  INDEX. 

Varnish  for  Tools 82 

Lacker,  Hardwood 60 

Mastic 64 

Sealing-wax 67 

Turpentine 65 

Wainscot 55 

Water 66 

White  Spirit  59,  60 

Varnishes 42 

Application  of 5 

Gums  and  their  qualities 42 

Oil 43 

Oil,  preparation  of 47 

Spirit  and  Turpentine 43 

"  "  preparation  of 56 

Solvents, 45 

Alcohol 46 

Linseed  Oil 45 

Naphtha 47 

Turpentine 46 

Varnish,  Finish 12 

Pan 8 

to  Remove  from  Wood 96 

Velvet,  to  Clean 96 

Veneers,  to  raise  old 76 

Waterproof  Polish 16 

Wax,  Black 95 

Finish 12 

Imitation 12 

Green 95 

Whitelead,  mixing 41 

Wood-pullcvs,  to  Harden 83 


JCstabllslKMl  by  E.  &  C.  AV.  HorCHTON  to  19'JG, 


French  and  American  Burl  Veneers, 

Mahogany  Boards,  Planks,  and  Veneers.    Rosewood  and  Satinvrooil  Boan's, 
Planks  and  Veneers. 

C.  C.  HOUGHTON  &  SONS, 

f^ticcessors  to  R.  X-  V.  \V.  ITouoriToN  and  the  iatc  Fran'ots  Copct/TT, 

No.  S  Howard  Street,  -  New  York. 

Our  patrons  will  plense  notice  that  this  business  was  established  by  the 
father  of  C.  C.  Houg-hton,  in  1826,  in  New  York,  and  is  the  oldest  and  as  reliable 
as  any  house  in  the  Veneer  business. 

HEADQUARTERS  FOR  VENEERS  1 

No  Branch  Warerooms  ! 

Althout»-li  French   and  American   Burl   Veneers  are   our   Specialty,   ^\'e   have 
recently  enlarg-ed  our  business,  which  now  includes 

MAHOGANY,    ROSEWOOD, 

AXD    .\LL 

Cabinet  ^A^oods 

In  Boai^s,  Planks  and    Veneer^. 
Remember  the  NiLJubcTy  8  Howard  Street,  N.  Y. 


No  Connection  with  any  other  House  in  the  Business. 


NO  DUST  AND  NO TLANIX^G. 


Tlie  only  perfL-cl  cut  lumber  in  tin;  world,  Spanish  CeOilir^  Whittwvooili  i-tc.,.  lor 

-  CIGAR  BOXES.  -      - 

Walnut,  Mahogany,  Cherry,  Whitewood, 

Etc.  in  34  t"  M  '"c''  thick,  all  equal  lo   sawid  and  planed  lumb«r.    Ih  addition 
to  Dur  S4)etialty  of. 

Cut  and  Press  Dried  Ltmiber, 

A'fttH  stock  of  Hardwood  Lumber,   and  Veneers,    Mahogany,  Walnut,  Ash;  Oak, 
French  Walnut  Veneers,  £to..  Eto. 

!><;iiJ  for  Cataloijui:  and  Prioc  IJst. 

Geo.  W.  Read  &  Co., 

18G  to  30rt  Tewls  Street,  N.  Y,  flty. 

WM.  GIFFERT  ' 

WHOLESA.t-E  MAN'UFACTUKEROr 

Parlor  Furniture, 

Students'  ClKiirs  andi^atent  Rockers. 
Adjustable  Lounges,  Mattresses,  Etc. 

No.  2-17  South  C.\.\al  Street, 
ciiic.\(;o. 


MOLTER  BROS. 


MANL'FAi'irKKltS  OK 


CHAMBER  SUITS, 


Bureau  Lookino-Glass  Frames 


.-Si'lJC  1  Al.TV. 


N0S.339&341  Clybourn  Avenue, 


CHICAGO,  ILL. 


Tiikc  Clvliourn  Avtmic  Cur.s  ;il  Madison  luid  Claik  Streets. 


Date  Due 


r. 


m~ 


^3-17 


C 


L 


\ 

\ 



r    V;r\M.  rstublislK-d  1838.  31.  O.  STKPHEX, 


HALL  &  STEPHEN, 


(Suoceascre  to  D.  K.  H.vu-  &  9o«t.) 


MANUFACTURERS 


B  !EI3DiDili        T^ 


^'D— ' 


^TTRL^SES, 


ss  Bedsteads 


185  Sixth  Ave.  N.  Y. 


vif~.Seua  for  Price  I4sW 

GEHY  CENTER  LIBRARY 


3  3125  00140  9016 


m 


